UC-NRLF 


B   M   3M7   3D7 


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.A.DeWolfe  Howe 


+  THE  BOSTON  |l 
i     SYMPHONY    1 


THE 
BOSTON  SYMPHONY  ORCHESTRA 

AN  HISTORICAL  SKETCH 


■f^h 


U:v^wMA  is  ,  ^^l^-WAa/vo^w-nn^w 


THE  BOSTON 
SYMPHONY  ORCHESTRA 

AN  HISTORICAL  SKETCH 

BY 

M.  A.  DeWOLFE  HOWE 


BOSTON   AND   NEW  YORK 

HOUGHTON    MIFFLIN   COMPANY 

I914 


COPYRIGHT,    I9I4,    BY    M.    A.    DEWOLFE    HOWE 


ALL    KIGHTS   RESERVED 


Puhlished  November  igi^ 


PREFACE 

IT  is  to  be  said  at  the  outset  that  this  book  is 
not  the  work  of  a  musical  critic,  but  of  an 
editor  and  annalist.  The  task  has  been  to  con- 
struct from  a  considerable  body  of  record  the 
story  of  the  Orchestra.  Much  of  the  material  — 
especially  in  papers  relating  to  Mr.  Higginson's 
more  personal  dealings  with  the  enterprise  —  has 
never  been  in  print  before.  Much  has  been  found 
also  in  the  bound  volumes  of  newspaper  clippings 
about  the  Orchestra  brought  together  by  Mr. 
Allen  A.  Brown  and  preserved  in  the  Allen  A. 
Brown  Collection  at  the  Boston  Public  Library. 
The  critical  passages  drawn  from  this  source,  in 
their  reflection  of  the  local  musical  opinion  of 
the  Orchestra  in  its  successive  stages,  are  believed 
to  contribute  an  important  element  to  the  record. 
To  Miss  Barbara  Duncan,  custodian  of  the  Allen 
A.  Brown  Collection,  the  author  is  indebted  for 
the  preparation  of  the  Appendices  at  the  end  of 
the  volume.  To  Mr.  Ellis,  Mr.  Walter,  and  other 
members  of  the  staff  of  Symphony  Hall,  and  to 

V 


PREFACE 

several  unofficial  friends  of  the  Orchestra,  many- 
thanks  are  due  for  suggestion  and  advice. 

It  is  a  fortunate  coincidence  that  the  book  can 
appear  at  the  time  of  Mr.  Higginson's  eightieth 
birthday. 

Boston,  October  15,  19 14. 


CONTENTS 

I.  Preliminary i 

II.  The  Beginnings  under  Georg  Henschel,  i88i- 

1884 25 

III.  The   Establishing  under  Wilhelm   Gericke, 

1884-1889 lOI 

IV.  The  Service  of  Arthur  Nikisch  and  Emil  Paur, 

1889-1898 153 

V.  The  Second  Term  of  Wilhelm  Gericke,  1898- 

1906 182 

VI.  Dr.  Karl  Muck,  Max  Fiedler,  and  again  Dr. 

Muck,  1906-1914 209 

VII.  Conclusions 222 

Appendix 

A.  The  Soloists 231 

B.  The  Personnel 242 

C.  The  Repertoire 252 

Index 275 


ILLUSTRATIONS 

Henry  Lee  Higginson  (photogravure)    ....  Frontispiece 
From  the  bust  by  Bela  L.  Pratt,  placed  in  Symphony  Hall, 
Boston,  igil.    From  a  photograph  by  Curtis  £5"  Cameron. 

The  Germania  Orchestra 8 

Carl  Bergmann,  Conductor,  seated  at  center. 
Carl  Zerrahn  standing  at  extreme  left. 

From  a  lithograph  in  the  library  of  the  Harvard  Musical 

Association. 

The  Boston  Symphony  Orchestra  before  the 
"  Great  Organ  "  in  Music  Hall.  Georg  Hen- 
SCHEL,  Conductor 66 

From  a  photograph  by  James  Notman. 

Three  Conductors 114 

WiLHELM  GeRICKE,    1884-1889,    1898-I906. 

From  a  photograph  by  Elmer  Chickering. 
Arthur  NiKiscH,  1889-1893. 

From  a  photograph. 
Georg  Henschel,  i 881-1884. 

From  a  photograph. 

The    Boston    Symphony    Orchestra   in    Symphony 

Hall,  Boston,  191 3.    Dr.  Karl  Muck,  Conductor   192 
From  a  photograph  by  Newcomb  ^  Robinson. 

The  Six  Concert-Masters 204 

BeRNHARD   LiSTEMANN,     1881      iSSj. 

From  a  photograph. 
Willy  Hess,  1904— 1907,  1908-1910. 
From  a  photograph  by  Garo. 

ix 


ILLUSTRATIONS 

Franz  Kneisel,  1885- 1903. 

From  a  photograph  by  Gassford,  New  Tork. 
Carl  Wendling,  1907- 1908. 

From  a  photograph  by  Garo. 
Anton  Witek,  191  o- 

From  a  photograph  by  Garo. 
E.  Fernandez  Arbos,  1903-1904. 

From  a  photograph. 

Three  Conductors 216 

Karl  Muck,  1906-1908,  1912- 

From  a  photograph  by  Garo. 
Max  Fiedler,  1908-1912. 

From  a  photograph  by  Garo. 
Emil  Paur,   1893-1898. 

From  a  photograph  by  Notman  Photograph  Company. 


THE  BOSTON   SYMPHONY   ORCHESTRA 


THE  BOSTON  SYMPHONY 
ORCHESTRA 

I 

PRELIMINARY 

ABOUT  twenty  years  ago  the  amusing  Max 
Beerbohm  wrote  an  essay  on  "  1880,"  as  a 
year  already  so  remote  that  it  should  be  subjected 
to  the  historical  method  of  treatment.  "To  give 
an  accurate  and  exhaustive  account  of  that  pe- 
riod,'* he  said,  "would  need  a  far  less  brilliant  pen 
than  mine."  Perhaps  it  is  better  that  the  compre- 
hensive narrative  should  remain  a  little  longer 
unwritten.  But  before  it  is  too  late  to  profit  by 
personal  memories,  there  are  many  pieces  of  the 
story  to  be  told. 

One  of  them  has  to  do  with  the  Boston  Sym- 
phony Orchestra,  which  was  established  in  1881. 
It  is  a  local  matter,  and  it  relates  to  the  single  art 
of  music.  But  it  is  also  much  more  than  a  local 
matter,  since  the  Orchestra  has  exerted  a  wide- 
spread influence ;  and  it  relates  to  more  than  one 

I 


BOSTON/SyMPHONY  ORCHESTRA 

art,  since  the  founding  and  maintenance  of  the 
Orchestra  have  exemplified  a  spirit  applicable  to 
many  opportunities  for  enriching  the  life  of  a 
community  and  a  country.  Regarding  the  Orches- 
tra, then,  as  the  flourishing  plant  which,  since 
1 88 1,  it  has  grown  to  be,  we  should  look  first  of 
all  at  the  soil  in  which  it  was  planted  —  and  at 
the  planter. 

The  musical  history  of  Boston  before  the  mid- 
dle of  the  nineteenth  century  is  a  somewhat  bar- 
ren field  of  study.  The  earlier  Puritans  did  little 
or  nothing  to  cultivate  music.  Indeed,  they  con- 
fined the  practice  of  the  art  so  strictly  to  psalmody 
that  the  development  of  Boston  into  a  home  of 
the  best  music  may  be  counted  one  of  the  anom- 
alies of  evolution.  The  first  considerable  organ- 
ization of  music-lovers  in  Boston  owed  its  origin 
to  a  religious  and  patriotic  occasion  —  the  Peace 
Jubilee  in  King's  Chapel  on  the  conclusion  of  the 
War  of  1 812.  From  the  excellent  choir  of  Park 
Street  Church  and  from  other  sources  a  chorus 
was  brought  together  for  the  singing  of  portions 
of  the  "Creation,"  the  "Messiah,"  and  other 
works  appropriate  to   the  celebration  of  peace, 

2 


PRELIMINARY 

and  from  this  chorus  the  Handel  and  Haydn  So- 
ciety was  formed  in  1 8 1 5.  "  The  ambitious  char- 
acter of  the  society,"  writes  Mr.  Louis  C.  Elson 
in  his  "History  of  American  Music,"  **is  indi- 
cated by  the  fact  that,  in  1823,  it  wrote  to  Bee- 
thoven offering  him  a  commission  to  write  an 
oratorio  especially  for  its  use."  The  commission 
was  never  executed,  though  an  entry  in  one  of 
Beethoven's  notebooks  shows  that  he  intended  to 
do  something  about  it. 

For  the  most  part  the  town  relied  for  its  music 
upon  what  it  could  provide  for  itself — and  that 
was  not  much.  In  1837a  seceding  society,  "  The 
Musical  Institute  of  Boston,"  sought  to  divide 
the  field  of  oratorio  with  the  Handel  and  Haydn. 
It  is  a  curious  circumstance  that  musical  journals 
— the  "Euterpiad"  (including  the  "Minerviad" 
for  feminine  readers),  the  "  Boston  Musical  Gaz- 
ette," and  the  "Musical  Magazine" — existed 
in  the  second,  third,  and  fourth  decades  of  the 
last  century  ;  as  if  to  say  that  music  must  be  dis- 
cussed in  Boston  even  when  there  was  least  to 
provoke  remark.  The  fact  is  that  there  were 
always  amateur  musicians,  and  the  amateurs  — 

3 


BOSTON  SYMPHONY  ORCHESTRA 

the  real  lovers  —  of  an  art  are  frequently  those 
who  save  it. 

So  much  of  the  spiritual  awakening  of  New 
England  is  identified  with  the  movement  which 
expressed  its  "  transcendentalism  "  in  the  **  Dial" 
and  the  Brook  Farm  experiment,  that  it  is  inter- 
esting to  find  in  the  first  number  of  the  "  Dial " 
(July,  1840)  an  article  on  "The  Concerts  of  the 
Past  Winter,"  by  John  S.  Dwight,  soon  to  be- 
come a  Brook  Farmer,  and  long  to  remain  the 
chief  apostle  of  music  in  Boston.  He  described 
a  concert  of  the  "Amateur  Orchestra,"  assisted 
by  the  "  Social  Glee  Club,"  and,  more  than  half 
prophetic  of  things  to  come,  wrote :  — 

This  promises  something.  We  could  not  but  feel 
that  the  materials  that  evening  collected  might,  if  they 
could  be  kept  together  through  the  year,  and  induced 
to  practise,  form  an  orchestra  worthy  to  execute  the 
grand  works  of  Haydn  and  Mozart.  Orchestra  and 
audience  would  improve  together,  and  we  might  even 
hope  to  hear  one  day  the  "  Sinfonia  Eroica,"  and  the 
"  Pastorale  "  of  Beethoven.  .  .  .  We  want  two  things: 
Frequent  public  performances  of  the  best  music,  and 
a  constant  audience  of  which  the  two  or  three  hundred 
most  musical  persons  in  the  community  shall  be  the  nu- 
cleus. Good  music  has  been  so  rare  that,  when  it  comes, 


PRELIMINARY 

those  who  know  how  to  enjoy  such  do  not  trust  it, 
and  do  not  go. 

To  secure  these  ends,  might  not  a  plan  of  this  kind 
be  realized  ?  Let  a  few  of  our  most  accomplished  and 
refined  musicians  institute  a  series  of  cheap  instrumen- 
tal concerts,  like  the  Quartette  Concerts,  or  the  "  Classic 
Concerts"  of  Moscheles  in  England.  Let  them  engage  to 
perform  quartettes,  etc.,  with  occasionally  a  symphony, 
by  the  best  masters  and  no  others.  Let  them  repeat  the 
best  and  most  characteristic  pieces  enough  to  make 
them  a  study  to  the  audiences.  To  insure  a  proper  au- 
dience there  should  be  subscribers  to  the  course.  The 
two  or  three  hundred  who  are  scattered  about  and  really 
long  to  hear  and  make  acquaintance  with  Beethoven 
and  Haydn,  could  easily  be  brought  together  by  such 
an  attraction,  and  would  form  a  nucleus  to  whatever 
audience  might  be  collected,  and  would  give  a  tone  to 
the  whole.  ...  It  might  be  but  a  labor  of  love  at  the 
outset;  but  it  would  create  in  time  the  taste  which  would 
patronize  and  reward  it. 

The  fulfilment  of  some  of  these  dreams  for 
music  in  Boston  was  nearer  than  Dwight  him- 
self may  have  realized.  In  the  winter  of  1 840- 
41,  the  Boston  Academy  of  Music,  formed  in 
1833  for  educational  purposes,  gave  a  series  of  or- 
chestral concerts,  at  which  the  symphonies  of  Bee- 
thoven were  first  heard  in  Boston.  "Some  may 
yet  remember,"  wrote  Dwight  in  1870,  "how 

5 


BOSTON  SYMPHONY  ORCHESTRA 

young  men  and  women  of  the  most  cultured 
circles,  whom  the  new  intellectual  dayspring 
had  made  thoughtful  and  at  the  same  time  open 
and  impressible  to  all  appeals  of  art  and  beauty, 
used  to  sit  there  through  the  concert  in  the  far- 
off  upper  gallery,  or  sky-parlor,  secluded  in  the 
shade,  and  give  themselves  up  completely  to  the 
influence  of  the  sublime  harmonies  that  sank  into 
their  souls,  enlarging  and  coloring  henceforth  the 
whole  horizon  of  their  life."  To  the  other  orches- 
tral concerts  which  followed  in  due  course  upon 
this  first  series,  the  young  enthusiasts  of  Brook 
Farm,  as  George  William  Curtis  long  afterwards 
recalled  the  experience,  "  would  come  to  town 
to  drink  in  the  symphonies,  and  then  walk  back 
the  whole  way  (seven  miles)  at  night,  elated  and 
unconscious  of  fatigue,  carrying  home  with  them 
a  new  genius,  beautiful  and  strong,  to  help  them 
through  the  next  day's  labors." 

The  temptation  to  look  carefully  at  every  step 
in  the  local  history  of  music  must  be  resisted.  It 
is  sufficient  to  say  in  this  place  that  the  Academy 
concerts,  ending  in  1 847,  were  followed  by  those 
of  the  Musical  Fund  Society,  and  the  Germania 

6 


PRELIMINARY 

Orchestra,  an  excellent  band  of  travelling  musi- 
cians, who  left  Berlin  in  the  upheavals  of  1848, 
and  visited  Boston  and  other  American  cities  from 
1849  ^°  1^54-  Their  personal  history  and  for- 
eign origin  added  a  romantic  element  to  the  pro- 
nounced artistic  appeal  of  their  music.  The  in- 
fluence they  exerted  on  musical  taste,  not  only 
in  Boston  but  throughout  the  country,  has  won 
the  warmest  acknowledgments.  Yet  the  primi- 
tive taste  of  the  time  is  suggested  in  a  bit  of 
reminiscence  preserved  by  William  F.  Apthorp 
in  his  annotations  upon  a  Symphony  Concert  pro- 
gramme of  1 896  :  — 

At  one  of  the  public  afternoon  rehearsals,  —  for  we 
had  afternoon  rehearsals  then,  as  now,  —  all  the  seats 
on  the  floor  of  the  Music  Hall  had  been  taken  up, and 
the  small  audience  occupied  the  galleries.  There  used 
to  be  no  printed  programmes  at  these  rehearsals,  but 
Bergmann  [leader  of  the  Germanians]  would  announce 
the  several  numbers  viva  voce —  often  in  the  most  re- 
markable English.  One  of  the  numbers  on  the  occa- 
sion I  now  speak  of  was  the  "  Railway  Galop,"  —  com- 
poser forgotten,  —  during  the  playing  of  which  a  little 
mock  steam-engine  kept  scooting  about  (by  clockwork  ?) 
on  the  floor  of  the  hall,  with  black  cotton  wool  smoke 
coming  out  of  the  funnel. 


BOSTON  SYMPHONY  ORCHESTRA 

The  vagaries  of  taste,  however,  did  not  end 
with  the  fifties.  The  "  Great  Organ  "  was  not 
installed  in  the  Music  Hall  till  1863.  It  lent  it- 
self, said  Mr.  Apthorp  in  the  reminiscences  al- 
ready quoted,  to  "  adventurous  combinations.  I 
remember  one  evening  when  a  fantasia  on  themes 
from  Wallace's  *  Maritana  '  was  played  as  a  duet 
for  mouth  harmonica  and  the  Great  Organ ;  a 
combination,  as  the  programme  informed  us, 
*  never  before  attempted  in  the  history  of  mu- 
sic ! '  " 

It  should  be  said  at  once  that  crudities  like 
these  were  sporadic,  not  typical,  and  that  the  soil 
was  really  undergoing  a  constant  and  effective 
preparation  for  the  flourishing  of  the  Boston 
Symphony  Orchestra.  The  Music  Hall  was  built 
in  1852,  from  which  time  forward  it  was  un- 
necessary to  ask  a  visiting  Jenny  Lind  to  sing  in 
the  Fitchburg  Railroad  Station.  In  the  project 
of  building  the  Music  Hall,  as  in  many  other 
musical  enterprises  of  the  time,  the  Harvard 
Musical  Association  bore  a  leading  part.  This 
club,  founded  in  1837  by  a  group  of  young 
Harvard  men  who  wished  to  continue  beyond 

8 


I 


^ 


—       <-.    as 


^■«^^^ 


PRELIMINARY 

their  college  days  the  musical  interests  which  had 
brought  them  together  in  the  Pierian  Sodality, 
never  ceased  in  its  private  meetings  to  nourish  a 
local  devotion  to  the  best  music.  Its  dominat- 
ing spirit  for  more  than  a  half-century  was  John 
Sullivan  Dwight.  Through  his  "Journal  of  Mu- 
sic," begun  in  1852  and  continued  until  1881, 
the  Association,  responsible  in  large  measure  for 
the  Music  Hall,  may  be  said  to  have  related 
itself  again  to  the  public.  The  "  Journal "  was, 
to  an  uncommon  degree,  a  personal  product,  — 
the  utterance  of  a  man  wholly  devoted  to  an  art 
and  firm  in  his  belief  that  it  must  be  practised 
and  enjoyed  according  to  the  severest  canons  of 
classical  taste.  If  this  was  a  personal  view,  it  was 
also  fairly  representative  of  the  Association  upon 
which  Dwight  so  strongly  impressed  himself.  As 
time  went  on,  younger  men  chafed  against  his 
extreme  conservatism ;  but  now  that  the  period 
has  passed  into  history,  there  can  be  little  doubt 
that  the  Boston  community  was  fortunate  in  hav- 
ing throughout  its  musically  formative  years  a 
leader  of  taste  and  opinion  whose  standards  were 
so  substantial  and  high  as  those  of  Dwight. 

9 


BOSTON  SYMPHONY  ORCHESTRA 

The  orchestral  concerts  of  the  Musical  Fund 
Society  continued  until  1855.  In  1857,  the 
Philharmonic  Society  concerts  began,  under  the 
leadership  of  Carl  Zerrahn,  one  of  the  musicians 
who  found  his  way  to  Boston  with  the  Germania 
Orchestra.  These  concerts  formed  an  important 
link  in  the  chain  of  which  the  next  link  was  pro- 
vided by  the  Harvard  Musical  Association.  They 
came  to  an  end  in  1863  —  when  martial  music 
was  inevitably  drowning  out  all  other.  When  the 
war  was  over,  the  Harvard  Musical  Association 
inaugurated,  in  the  season  of  1866—67,  the  series 
of  orchestral  concerts  which  did  not  come  to  an 
end  till  the  Boston  Symphony  Concerts  were 
firmly  established.  Carl  Zerrahn  was  the  con- 
ductor of  the  Harvard  concerts;  the  orchestra 
numbered  fifty — the  best  available  local  play- 
ers. Through  the  first  five  or  six  seasons  they 
were  so  successful  that  a  loss  of  popularity  after 
this  time  did  not  cause  any  financial  loss  to  the 
enterprise  as  a  whole.  For  the  decline  in  popu- 
larity two  causes  may  be  assigned :  the  classical 
severity  of  the  programmes,  leading,  as  Mr. 
Apthorp  has  written,  to  the  almost  proverbial 

10 


PRELIMINARY 

phrase  of  the  time,  "  dull  as  a  symphony  con- 
cert"; and  the  revelation  of  what  such  concerts 
might  be  that  came  with  the  early  visits  of  Theo- 
dore Thomas's  Orchestra  to  Boston.  It  was  this, 
probably  more  than  anything  else,  which  pointed 
the  way  to  still  better  things,  orchestrally,  than 
Boston  had  known.  Yet  it  is  true  that  the  Har- 
vard Musical  Concerts  were  what  Mr.  Apthorp 
has  called  them  —  the  link  between  the  old  and 
the  new  musical  Boston  ;  and  because  this  is  so, 
it  is  well  to  quote  Dwight's  own  words,  as  the 
words  of  highest  authority,  about  the  underlying 
aims  of  these  concerts  :  — 

The  strength  of  the  enterprise  lay  in  these  guaran- 
tees :  I.  Disinterestedness  :  it  was  not  a  money-making 
speculation  ;  it  had  no  motive  but  good  music  and  the 
hope  of  doing  a  good  thing  for  art  in  Boston  ;  in  that 
it  took  up  the  traditions  of  the  old  Academy.  i.  The 
guarantee  of  the  nucleus  of  fit  audience,  —  persons  of 
taste  and  culture,  subscribing  beforehand  to  make  the 
concerts  financially  safe,  and  likely  to  increase  the  num- 
ber by  the  attraction  of  their  own  example.  3.  Pure 
programmes,  above  all  need  of  catering  to  low  tastes; 
here  should  be  at  least  one  set  of  concerts  in  which  one 
might  hear  only  composers  of  unquestioned  excellence, 
and  into  which  should  enter  nothing  vulgar,  coarse, 
"  sensational,"  but  only  such  as  outlives  fashion.  4.  The 

I  I 


BOSTON  SYMPHONY  ORCHESTRA 

guarantee  to  the  musicians  both  of  a  better  kind  of 
work  and  somewhat  better  pay  than  they  were  wont  to 
find.  It  was  hoped  that  the  experiment  would  "pave 
the  way  to  a  permanent  organization  of  orchestral  con- 
certs, whose  periodical  recurrence  and  high,  uncompro- 
mising character  might  be  always  counted  on  in  Bos- 
ton." It  was  in  fact  a  plan  whereby  the  real  lovers  of 
good  music  should  take  the  initiative  in  such  concerts 
and  control  them,  keeping  the  programmes  up  to  a 
higher  standard  than  they  are  likely  to  conform  to  in 
the  hands  of  those  who  give  concerts  only  to  make 
money.' 

The  ideals  thus  described  by  the  authoritative 
spokesman  for  the  Harvard  Musical  Association 
were  substantially  realized  in  the  concerts  which 
for  seventeen  years  prepared  the  Boston  public 
for  the  orchestra  it  has  now  been  enjoying  for 
more  than  thirty  years.  The  soil  was  well  pre- 
pared for  the  planting.  We  may  now  turn  to  the 
planter. 

Henry  Lee  Higginson,  born  in  New  York, 
November  i8,  1834,  of  the  New  England  stock 
which  for  two  centuries  before  his  birth  had  done 
less  for  the  arts  than  for  the  virtues,  departed 
early  from  the  accepted  paths  of  the  young  men 

'   Memorial  History  of  Boston,  iv,  446. 
12 


PRELIMINARY 

of  his  time  and  station.  He  ought  to  have  grad- 
uated from  Harvard  College,  which  he  entered 
in  1 85 1  with  the  class  to  which  Alexander  Agas- 
siz  and  Phillips  Brooks  belonged.  But  lacking 
the  best  of  health,  he  left  it  after  two  years.  He 
ought  to  have  continued  —  if  precedent  were  to 
rule  —  in  the  Boston  counting-house  of  S.  and  E. 
Austin,  in  which  he  then  took  employment;  but 
before  the  end  of  1856,  he  found  himself  in 
Europe,  where  he  stayed  for  four  years,  devoting 
himself  chiefly  to  the  study  of  music  at  Vienna. 
Many  letters  to  his  father  are  preserved,  and  from 
these  it  may  be  seen  that  in  his  early  twenties 
his  views  on  the  place  of  money-gathering  and 
spending  in  the  general  scheme  of  life  were  — 
thanks  to  the  example  and  influence  of  an  unself- 
ish parent  —  definitely  formed.  From  Paris,  for 
example,  he  writes  to  his  father,  January  21, 
1857:  "  What  is  money  good  for,  if  not  to  spend 
for  one's  friends  and  to  help  them  ?  You  've  done 
so  all  your  life  —  let  me  do  so  too  while  I  can, 
for  it  is  in  me  (I  have  always  known  it)  to  be  a 
close  man,  a  miser.  I  know  about  this."  This 
frank  recognition  of  the  personal  danger  involved 

13 


BOSTON  SYMPHONY  ORCHESTRA 

in  the  pursuit  of  money  for  its  own  sake  —  with 
its  bit  of  self-analysis  reading  so  strangely  after 
the  lapse  of  nearly  sixty  years  —  is  expressed  with 
some  frequency  in  these  early  letters.  They  re- 
veal no  less  clearly  the  writer's  lively  interest  in 
business  matters  and  his  shrewd  intelligence  about 
them.  In  definite  outline  also  they  image  forth 
the  young  man's  feeling  for  music,  and  the  satis- 
faction he  found  in  self-expression  by  means  of  it. 
At  first  he  is  seen  travelling  about  Europe. 
For  a  companion  he  had  his  cousin  and  most  in- 
timate friend,  Charles  Russell  Lowell,  who  wrote, 
in  May  of  1857,  *°  another  close  friend,  John  C. 
Bancroft :  — 

Henry  is  going  to  study  music  for  three  years.  .  .  . 
With  immense  good  sense  he  sees  that  he  will  be  far 
more  of  a  man  and  no  less  of  a  merchant  when  he  has 
duly  cultivated  the  best  gift  nature  gave  him.  It  is  the 
first  good  fruit  of  his  coming  abroad.  He  is  even  now 
engaged  in  India  adventures  which  are  likely  to  be  good  : 
that  is  clearly  his  vocation,  to  be  a  sound  merchant  and 
true  friend. 

In  September  the  young  student  of  music  is 
established  in  Vienna,  and  writes  thus  to  his 
father :  — 

14 


PRELIMINARY 

As  every  one  has  some  particular  object  of  supreme 
interest  to  himself,  so  I  have  music.  It  is  almost  my 
inner  world ;  without  it,  I  miss  much,  and  with  it  I  am 
happier  and  better.  You  may  remember  that  I  wished 
to  study  music  some  few  years  ago  when  in  Europe 
before. 

On  my  return  home  other  studies  took  up  my  time 
so  much  that  music  had  to  be  neglected,  much  against 
my  will.  The  same  was  true  when  in  the  store.  It  is 
quite  true  that  I  had  plenty  of  spare  hours  during  my 
apprenticeship,  but  it  is,  in  my  opinion,  very  false  to 
suppose  that  a  knowledge  of  anything  so  difficult  as 
music  can  be  gained,  when  the  best  hours  of  the  day 
and  the  best  energies  of  the  man  are  consumed  by  the 
acquiring  of  another  knowledge.  Of  course  men  more 
busily  employed  than  I  was  have  applied  themselves  to 
and  conquered  great  things  in  science,  in  art,  etc.,  etc.; 
but  they  are  exceptions  certainly,  and  /  nothing  of  the 
kind.  At  any  rate,  I  did  not  learn  anything  more  of 
music  during  those  nineteen  months.  I  felt  the  want 
of  it  greatly,  and  was  very  sorry  to  give  up  the  thing 
dearest  to  me.  When  I  came  out  here  I  had  no  plans, 
as  you  know.  Trade  was  not  satisfying  to  the  inner 
man  as  a  life-occupation.  Out  here  I  have  consulted, 
and  have  decided  to  try  to  learn  something  of  music 
ex-  and  internally,  i.e.,  of  playing  and  of  harmony  or 
thorough-bass.  If  I  find  that  I  am  not  profiting  at  all 
by  my  work,  I  shall  throw  it  up  and  go  home.  If  I  gain 
something,  I  shall  stick  to  it.  You  will  ask,  "  What  is 
to  come  of  it  all  if  successful  ?  "  I  do  not  know.  But 
this  is  clear.    I  have  then  improved  my  own  powers, 

15 


BOSTON  SYMPHONY  ORCHESTRA 

which  is  every  man's  duty.  I  have  a  resource  to  which 
I  can  always  turn  with  delight,  however  the  world  may 
go  with  me.  I  am  so  much  the  stronger,  the  wider,  the 
wiser,  the  better  for  my  duties  in  life.  I  can  then  go 
with  satisfaction  to  my  business,  knowing  my  resource 
at  the  end  of  the  day.  It  is  already  made,  and  has  only 
to  be  used  and  it  will  grow.  Finally  it  is  my  province 
in  education,  and  having  cultivated  myself  in  it,  I  am 
fully  prepared  to  teach  others  in  it.  Education  is  the 
object  of  man,  and  it  seems  to  me  the  duty  of  us  all  to 
help  in  it,  each  according  to  his  means  and  in  his  sphere. 
I  have  often  wondered  how  people  could  teach  this  and 
that,  but  I  understand  it  now.  I  could  teach  people  to 
sing,  as  far  as  I  know,  with  delight  to  myself  Thus  I 
have  a  means  of  living  if  other  things  should  fail.  But 
the  pleasure,  pure  and  free  from  all  disagreeable  conse- 
quences or  after-thoughts,  of  playing  and  still  more  of 
singing  myself,  is  indescribable.  In  Rome  I  took  about 
eight  lessons  of  a  capital  master,  and  I  used  to  enjoy 
intensely  the  singing  to  his  accompaniment  my  exer- 
cises and  some  little  Neapolitan  songs.  My  reasons  for 
studying  harmony  are  manifest.  I  cannot  properly  un- 
derstand music  without  doing  so;  moreover,  it  is  an 
excellent  exercise  for  the  mind.  As  to  writing  music,  I 
have  nothing  to  say  ;  but  it  is  not  my  expectation.  It 
is  like  writing  poetry  ;  if  one  is  prompted  to  do  so,  and 
has  anything  to  say,  he  does  it.  But  I  entirely  disavow 
any  such  intention  or  aim  in  my  present  endeavor,  — 
and  this  I  wish  to  be  most  clearly  expressed  and  under- 
stood, should  any  one  ask  about  me.  I  am  studying  for 
my  own  good  and  pleasure.  And  now,  old  daddy,  I  hope 

i6 


PRELIMINARY 

you  will  be  able  to  make  something  out  of  this  long 
letter.  You  should  not  have  been  troubled  with  it,  but 
I  thought  you  would  prefer  to  know  all  about  it.  It  is 
only  carrying  out  your  own  darling  idea  of  making  an 
imperishable  capital  in  education.  My  money  may  fly 
away ;  my  knowledge  cannot.  One  belongs  to  the  world, 
the  other  to  me. 

This  long  passage  from  a  longer  letter,  written 
by  a  young  man  only  twenty-three  years  old,  will 
serve  at  least  to  show  how  vital  a  place  the  love 
of  music  held  in  his  plans  for  the  years  ahead. 
There  was  yet,  of  course,  no  indication  of  the 
form  in  which  his  devotion  to  music  should  ex- 
press itself.  The  money,  which  might  fly  away, 
while  knowledge  remained  a  permanent  posses- 
sion, was  at  that  time  slender  in  amount.  But  in 
these  limited  resources  there  was  far  less  of  trial 
than  in  a  serious  misfortune  which  early  befell 
the  young  student.  A  severe  headache  lasting  for 
three  days  drove  him  to  a  bleeder,  —  a  barber, 
—  who  drew  eight  ounces  of  blood  from  his  left 
arm.  This  was  on  a  Saturday.  On  the  following 
Monday  and  Tuesday,  Henry  Higginson  returned 
to  his  piano  practising,  with  the  consequence  of 
a  long-enduring  and  hampering  lameness.   The 

17 


BOSTON  SYMPHONY  ORCHESTRA 

pains  in  the  head  were  nothing  new,  and  before 
long  there  were  added  to  them  the  suffering  and 
inconvenience  resulting  from  a  blow  upon  a  knee 
which  had  been  hurt  in  boyhood.  Altogether 
the  letters,  unconsciously,  give  a  picture  of  the 
determined  fulfilment  of  a  purpose  under  condi- 
tions of  extreme  difficulty.  At  the  same  time 
there  are  frequent  tokens  of  keen  pleasure  in  the 
daily  life  and  the  results  of  devoted  study. 

A  few  passages  from  letters,  which  in  their  en- 
tirety give  evidence  of  the  most  affectionate  re- 
lations with  a  devoted  father,  will  afford  glimpses 
of  the  Vienna  experiences.  On  October  27, 1 857, 
he  wrote :  — 

I  am  in  Vienna,  studying  music  hard  and  economiz- 
ing hard,  and  here  I  am  a  fixture  for  six  months  or  a 
year  at  least.  It  is  pretty  hard  and  stupid  work,  but  it 
is  work  and  to  my  taste^  and  makes  me  happier  and 
more  contented  than  I  have  been  for  a  long  time. 

A  year  later,  after  the  disabling  of  his  arm, 
and  learning  from  an  eminent  physician  that  it  was 
injured  probably  for  life  —  not  so  much  from  the 
blood-letting  as  from  over-exertion  in  early  prac- 
tising, he  wrote,  October  19,  1858:  — 

18 


PRELIMINARY 

When  I  look  back  at  those  six  weeks  when  I  played, 
I  could  cry  heartily.  It  is  a  hard  line  for  me,  and  cuts 
deeper  than  you  think.  What  I  had  wished  for  years 
was  at  hand,  with  every  possible  help;  and  in  that  time 
I  really  learned  much.  Now  it  is  over  forever.  I  can 
never  play  freely  again.  I  almost  wonder  that  I  man- 
aged to  bear  up  as  much  as  I  did.  If  you  will  sit  down  and 
play  the  same  five  keys  with  your  five  fingers  for  five  min- 
utes, you  '11  feel  it  sharply  in  your  arms  as  I  did  then ; 
yet  I  forced  myself  to  play  about  two  hours  (with  many 
intervals,  of  course)  these  same  things  and,  besides,  to 
read  and  play  new  pieces  too,  three  and  four  hours  a 
day.  It  made  my  arms,  back,  and  head  ache.  Yet  I, 
relying  on  my  strength,  went  on,  and  when  this  trouble 
began,  I  had  got  so  hardened  as  to  mind  it  but  little 
in  the  body;  the  head  was  suffering  somewhat,  at  times 
severely.  In  reality,  I  'd  reached  the  last  limit,  and 
when  the  severe  headache  and  bleeding  came  and  were 
over,  I  went  hard  to  work  again,  and  the  game  was 
over. 

Thus  a  young  man  ruins  himself.  I  came  home  and 
swore  like  a  pirate  for  a  day;  then  coming  to  my  senses 
I  decided  to  sing  away,  study  composition,  etc.,  hard, 
magnetize,  and  await  the  result.  The  playing  is  very 
necessary  to  me  now  to  carry  on  the  other  studies,  but 
I  cannot  have  it  yet.  ...  I  've  hurt  myself  many 
times  by  doing  things  which  other  people  avoid  as  a 
matter  of  course. 

On  March  ii,  1858,  he  wrote: — 
About  myself,  my  arm  and  shoulder  are  still  very 

19 


BOSTON  SYMPHONY  ORCHESTRA 

lame  and  prevent  me  from  playing.  I  've  lost  five 
months'  practice.  Dear  old  daddy,  you  don't  realize 
the  magnitude  of  the  work  which  I  've  undertaken. 
I  've  already  told  you  that  I  must  ascertain  my  own 
abilities  in  music,  if  there  be  any,  in  what  direction  they 
lie,  and  what  I  can  best  do.  This  requires  much  time. 
Consider  the  time  given  to  the  study  of  medicine  or 
law  in  our  superficial  country,  two  or  three  years  or 
more.  Music  requires  as  much  time  at  least.  I  do  not 
take  it  up  as  a  business,  a  calling  for  life,  but  I  do  hold 
myself  free  to  do  that  same  if  it  seems  worth  while. 
Do  not  you  see  the  economy  of  making  yourself  the 
means  of  so  much  pleasure  to  yourself? 

The  practice  of  economy  is  suggested  in  the 
following  bit  from  a  letter  of  March  7,  1859: — 

I  've  given  lessons  in  English  here  this  winter,  but 
it  is  very  hard  to  compete  with  the  Germans,  who  will 
work  for  25  to  50  cents  an  hour,  which  I  cannot  do. 
I  shall  take  pupils  again,  if  I  get  them,  but  this  means 
of  getting  money  saves  me  much  time,  which  I  can 
well  otherwise  employ.  A  little  English  instruction  is 
agreeable  and  good  as  an  exercise  in  German  for  me. 

Hopes  of  recovery  for  the  injured  arm  kept 
recurring,  and  at  one  time  led  to  the  serious  con- 
sideration of  going  into  business  in  Vienna,  for 
the  sake  of  keeping  in  touch  with  music.  The 
long-protracted  absence  from  home  called  for  no 
little    explanation  and  defence.    At  length,  on 

20 


PRELIMINARY 

March  i,  i860,  Henry  Higginson  wrote  to  his 
father  that  he  was  preparing  to  leave  Vienna: 
"I  have  long  intended  to  go  at  about  this  time, 
but  have  avoided  saying  anything  about  it,  be- 
cause my  plans  might  have  been  altered  by  cir- 
cumstances and  thus  disappointed."  After  telling 
how  much  he  has  enjoyed  his  musical  life,  and 
especially  the  companionship  and  playing  of  his 
friend  Epstein,  he  says:  "  Up  to  the  present  time 
almost  I  have  hoped  to  be  able  to  play,  but  it 
cannot  be,  and  therefore  I,  seeing  that  my  musi- 
cal studies  cannot  be  prosecuted  to  advantage 
without  playing,  have  determined  to  leave  here. 
If  you  consider  the  whole  thing,  and  remember 
that  I  enjoy  in  the  depths  of  my  soul  music  as 
nothing  else,  you  '11  easily  comprehend  my  stay." 
Early  in  May  he  bade  good-bye  to  Vienna  ;  and 
after  about  six  months  of  travel  in  Europe  sailed 
from  England  for  home  in  November  of  i860. 
What  he  brought  back,  with  him  cannot  well 
be  measured  in  concrete  terms.  It  was  not  the 
technical  mastery  of  voice,  piano,  or  composi- 
tion which  might  have  served  as  the  starting- 
point  of  a  professional  career  in  music.    It  was 

21 


BOSTON  SYMPHONY  ORCHESTRA 

rather  the  broader  apprehension  of  what  music 
might  mean  to  an  individual  and  to  a  commu- 
nity, even  to  a  nation.  It  was  also  an  intense  patri- 
otism nourished  as  patriotism  often  is  by  absence 
from  home,  and  a  strong  sense  of  the  responsibil- 
ity resting  upon  every  one  to  give  what  he  best 
can  give  to  the  world  in  which  he  lives. 

The  native  country  to  which  he  returned  was 
on  the  eve  of  war.  What  he  could  give  at  once 
was  himself;  and  this  gift  he  made,  going  early 
to  the  front,  and  fighting  hard  and  late.  The 
cause  for  which  he  fought,  the  love  of  his  coun- 
try, became  the  dearer  to  him  through  the  death 
of  some  of  his  best  friends.  One  of  them,  Charles 
Lowell,  wrote  to  him  only  a  month  before  he 
met  his  soldier's  end  :  — 

Don't  grow  rich;  if  you  once  begin  you  '11  find  it 
much  more  difficult  to  be  a  useful  citizen.  Don't  seek 
office  ;  but  don't  "disremember"  that  the  useful  citi- 
zen holds  his  time,  his  trouble,  his  money,  and  his 
life  always  ready  at  the  hint  of  his  country.  The  useful 
citizen  is  a  mighty,  unpretending  hero,  but  we  are  not 
going  to  have  a  country  very  long  unless  such  heroism 
is  developed.  There !  what  a  stale  sermon  I  'm  preach- 
ing !  But,  being  a  soldier,  it  does  seem  to  me  that  I 
should  like  nothing  so  well  as  being  a  useful  citizen. 

22 


PRELIMINARY 

Mr.  Higginson's  own  use  of  these  words  in 
his  speech  at  the  presentation  of  Soldiers  Field 
to  the  students  of  Harvard  justifies  others  in 
regarding  them  almost  as  a  commission  under 
which  he  proceeded  to  act  as  faithfully  as  under 
his  commission  as  an  officer  of  the  United  States 
Government.  One  injunction  of  his  friend  — 
"  don't  grow  rich  *'  —  he  seems  to  have  re- 
garded rather  as  a  challenge  than  as  a  command. 
If  he  could  disobey  it  and  still  become  a  useful 
citizen,  might  not  his  usefulness  be  even  the 
greater?  Whether  he  ever  asked  himself  such  a 
question  or  not,  the  circumstances  of  his  life  in 
the  years  immediately  following  the  war  lent 
themselves  to  his  accumulation  of  abundant 
means.  The  native  aptitude  for  business  which 
appeared  in  the  letters  of  his  student  days  at 
Vienna  found  sufficient  excuse  for  exercising  it- 
self as  soon  as  the  pursuits  of  peace  called  for 
rehabilitation ;  for,  in  the  midst  of  the  war- 
time,—  in  December  of  1863,  —  he  had  mar- 
ried, and  thus  incurred  all  the  responsibilities 
which  provide  the  incentive  for  successful  work. 
The   time  and   the   young  man's   surroundings 

23 


BOSTON  SYMPHONY  ORCHESTRA 

yielded  golden  opportunities.  In  1865  he  was 
working  in  Ohio  at  the  development  of  oil  wells. 
Active  devotion  to  other  interests  qualified  him 
to  enter  on  January  i,  1868,  the  Boston  banking 
firm  of  Lee,  Higginson  &  Co.,  and  through  the 
decade  of  the  seventies  —  the  years,  as  we  have 
seen,  in  which  the  concerts  of  the  Harvard  Musi- 
cal Association  and,  especially,  the  visits  of  the 
Theodore  Thomas  Orchestra  were  emphasizing 
the  need  of  established  music  in  Boston  —  he 
toiled  at  his  business,  all  the  more  eagerly,  one 
may  well  imagine,  because  of  a  vision  constantly 
behind  it.  The  time  came  when  he  could  say 
at  home :  "  I  can  drop  businesss  now,  retire,  and 
lead  a  life  of  comparative  leisure ;  or  I  can  con- 
tinue to  work  and  by  my  earnings  establish  an 
orchestra.  This  has  been  the  dream  of  my  life. 
I  should  like  to  do  it  if  you  agree  with  me." 

Because  there  was  no  disagreement  on  this 
point,  there  is  a  story  of  the  Boston  Symphony 
Orchestra  to  be  told. 


II 

THE   BEGINNINGS   UNDER   GEORG   HENSCHEL 
1881-1884 

THE  history  of  an  institution  must  resolve 
itself,  more  or  less  directly,  into  a  record 
of  the  work  of  individuals.  Whether  an  orches- 
tra contains  seventy  men,  as  the  Boston  Sym- 
phony Orchestra  did  at  first,  or  a  hundred,  as  at 
present,  it  is  obviously  impossible  to  tell  what 
each  of  these  players  has  done  for  it.  Without 
their  work  it  could  not  have  existed ;  yet  the 
story,  if  it  is  to  hold  any  elements  of  life,  must 
be  a  personal  story  —  and  the  present  story  can 
be  told  only  with  special  emphasis  upon  the  aims 
and  performances  of  the  founder  and  sustainer 
of  the  Orchestra,  and  the  work  of  its  successive 
leaders.  It  is  inevitable  also  that  a  special  interest 
should  attach  to  the  records  of  the  early  years. 
It  was  then  that  the  Orchestra  had  its  place  to 
make  with  a  public,  the  articulate  portion  of 
which,  as  represented  in  the  press,  was  given 
perhaps  more  freely  to  hostile  than  to  friendly 

25 


BOSTON  SYMPHONY  ORCHESTRA 

criticism,  to  a  questioning  suspicion  of  motives 
than  to  a  generous  acceptance  of  intention  and 
results.  This  was  not  wholly  unnatural.  There 
were  generals  before  Alexander,  and  there  were 
orchestras  in  Boston  before  the  Boston  Symphony 
Orchestra.  Their  struggling  existence  was  clearly 
endangered  by  the  appearance  of  a  new  organi- 
zation with  a  "backing  "  of  conspicuous  strength. 
But  the  endurance  of  this  strength  had  still  to 
be  proved.  Meanwhile  local  musicians,  single 
and  collective,  had  their  supporters,  honestly 
jealous  of  any  usurpation  of  an  established  place 
in  the  local  scheme  of  things.  From  their  sup- 
porters came  much  of  the  opposition  to  the  new 
orchestra.  If  some  of  their  expressions  are  now 
brought  to  view,  it  is  with  no  desire  to  revive 
forgotten  hostilities,  but  merely  that  the  stages 
through  which  the  Orchestra  attained  its  later 
place  may  be  duly  recorded.  By  the  time  that 
place  was  attained  the  enterprise  had  acquired  a 
momentum  which  permitted  the  guiding  to  sup- 
plant the  forming  hand.  It  is  therefore  in  the 
earlier  annals  of  the  Orchestra  that  the  larger 
measure  of  interest  is  contained. 

26 


BEGINNINGS  UNDER  HENSCHEL 

The  records  in  general  are  fairly  abundant. 
They  are  chiefly  to  be  found  in  the  columns  of 
contemporary  newspapers.  From  that  source 
alone  nearly  all  the  story  might  be  drawn  ;  but, 
fortunately,  it  is  not  necessary  to  restrict  the  pres- 
ent narrative  to  the  already  printed  word.  In  the 
spring  of  1 88 1,  while  the  plans  for  the  enterprise 
to  be  launched  in  the  autumn  of  that  year  were 
still  in  process  of  formation,  Mr.  Higginson  wrote, 
under  the  heading  "  In  Re  the  Boston  Symphony 
Orchestra,"  a  statement  of  his  own  purposes  re- 
garding the  project  he  had  had  so  long  at  heart. 
To  those  who  may  have  read  it  at  that  time  it 
must  have  seemed  a  document  of  surprising  prom- 
ise. The  surprise  after  an  intervening  third  of 
a  century  must  be  that  so  many  of  its  promises 
have  been  fulfilled.   Thus  it  reads  :  — 

My  original  scheme  was  this,  viz:  To  hire  an  or- 
chestra of  sixty  men  and  a  conductor,  paying  them  all 
by  the  year,  reserving  to  myself  the  right  to  all  their 
time  needed  for  rehearsals  and  for  concerts,  and  allow- 
ing them  to  give  lessons  when  they  had  time;  to  give 
in  Boston  as  many  serious  concerts  of  classical  music 
as  were  wanted,  and  also  to  give  at  other  times,  and 
more  especially  in  the  summer,  concerts  of  a  lighter 
kind  of  music,  in  which  should  be  included  good  dance- 

27 


BOSTON  SYMPHONY  ORCHESTRA 

music;  to  do  the  same  In  neighboring  towns  and  cities 
as  far  as  is  practicable,  but  certainly  to  give  Harvard 
University  all  that  she  needs  in  this  line ;  to  keep  the 
prices  low  always,  and  especially  where  the  lighter  con- 
certs are  in  question,  because  to  them  may  come  the 
poorer  people ;  50  cents  and  25  cents  being  the  meas- 
ure of  prices. 

Such  was  the  idea,  and  the  cost  presented  itself  thus  : 
Sixty  men  at  $1500  =  $90,000+^3000  for  conductor 
and +  $7000  for  other  men  (solo  players  of  orchestra, 
concert-master,  i.e.,  first  violin,  etc.,  etc.)  =  $100,000. 
Of  this  sum,  it  seemed  possible  that  one  half  should  be 
earned,  leaving  a  deficit  of  $50,000,  for  which  $1,000,- 
000  is  needed  as  principal.  Of  course,  if  more  money 
came  in  by  means  of  larger  earnings  or  of  a  larger  fund, 
men  should  be  added  to  the  orchestra. 

The  plan  adopted  has  been  to  engage  such  good 
musicians  as  are  in  Boston  for  twenty  concerts  in  Bos- 
ton, paying  them  each  $3.00  for  every  rehearsal  (two 
private  and  one  public  rehearsal)  and  $6.00  for  every 
concert,  the  days  and  hours  being  specified.  Subse- 
quently, six  concerts,  to  be  given  in  the  Sanders  The- 
atre of  the  University,  were  added,  for  which  $6.00  a 
concert  was  to  be  paid  to  each  musician,  no  rehearsals 
being  needed,  as  the  programmes  can  be  selected  from 
the  Boston  concerts.  The  concert-master,  Mr.  B.  Liste- 
mann,  as  being  in  charge  of  all  the  stringed  instru- 
ments (such  is  the  custom  everywhere),  and  as  having 
the  scores  and  the  parts  to  mark,  is  paid  more  than  the 
other  musicians.  Of  course  the  same  is  true  of  the  con- 
ductor of  the  orchestra,  whoever  he  may  be,  and  is  a 

28 


BEGINNINGS  UNDER  HENSCHEL 

matter  of  agreement.  This  latter  gentleman  should,  in 
my  opinion,  select  the  musicians,  when  new  men  are 
needed,  select  the  programmes,  subject  to  the  judgment 
or  criticism  of  myself  or  my  representative,  conduct  all 
the  rehearsals  and  concerts,  rule  over  the  orchestra  and 
the  soloists,  whom  he  should  also  engage,  and  gener- 
ally be  held  responsible  for  the  proper  production  of 
all  his  performances.  I  think  that  he  would  need  assist- 
ance in  some  of  the  business  part  of  his  work,  —  and 
think  that  a  librarian  of  the  music  and  assistant  in  de- 
tails might  easily  be  found. 

At  present  my  belief  is  that  we  shall  incline  after  one 
season  to  the  following  course :  To  engage  a  conductor 
for  the  whole  year  at  a  fixed  salary,  and  to  give  him 
sundry  jobs  to  do  ;  to  engage  eight  or  ten  musicians  of 
a  superior  grade,  younger  than  those  here,  at  a  fixed 
salary  also,  who  should  be  ready  at  my  call  to  play  any- 
where ; —  and  then  to  draw  around  them  the  best  of 
our  Boston  musicians,  thus  refreshing  and  renewing  the 
present  orchestra,  and  getting  more  nearly  possession 
of  it,  and  so  to  give  more  and  more  concerts,  govern- 
ing ourselves  by  the  demand  here  and  elsewhere.  Nat- 
urally, it  is  impossible  to  say  what  is  wanted,  but  ex- 
periments will  tell.  I  do  not  know  whether  a  first-rate 
orchestra  will  choose  to  play  light  music,  or  whether  it 
can  do  so  well.  I  do  not  believe  that  the  great  opera- 
orchestra  in  Vienna  can  play  waltzes  as  Strauss's  men 
play  them,  although  they  know  them  by  heart  and  feel 
them  all  through  their  toes  and  fingers  —  simply  be- 
cause they  are  not  used  to  such  work  —  and  I  know 
also  that  such  work  is  in  a  degree  stultifying.  Myjudg- 

29 


BOSTON  SYMPHONY  ORCHESTRA 

ment  would  be  that  a  good  orchestra  would  need,  dur- 
ing the  winter  season,  to  keep  its  hand  in  by  playing 
only  the  better  music,  and  could  relax  in  summer, 
playing  a  different  kind  of  thing.  But  I  should  always 
wish  to  eschew  vulgar  music,  i.e.,  such  trash  as  is  heard 
in  the  theatres,  sentimental  or  sensational  nonsense ; 
and  on  the  other  side  I  should  wish  to  lighten  the 
heavier  programmes  by  good  music,  of  a  gayer  nature. 
This  abounds,  is  as  classical  and  as  high  in  an  artistic 
sense,  and  is  always  charming.  For  instance,  in  operas 
the  best  old  French  musicians  gave  us  gems,  —  like 
Mehul,  Boieldieu,  Auber,  Gretry,  etc.,  —  and  their 
overtures  are  delightful.  In  short,  all  the  catholicity 
possible  seems  to  me  good.  I  do  not  like  Wagner's 
music,'  and  take  little  interest  in  much  of  the  newer 

'  Writing  from  Vienna  to  his  father,  December  23,  1883,  Mr.  Hig- 
ginson  said  :  "The  opera  house  has  been  chiefly  occupied  with  Wag- 
ner's operas  of  late.  The  whole  list  of  them  (excepting  the  last)  has 
been  given,  and  I  've  heard  them  all  as  a  matter  of  education.  They're 
very  exhausting  from  their  noise,  length,  and  intricacy  in  form  and 
Btructure,  They  appeal  far  too  much  to  the  senses  of  various  kinds,  and 
I  'm  very  glad  that  they  are  past."  In  writing  for  the  Transcript  about 
a  "Wagner  Matinee"  which,  on  December  31,  1890,  followed  a 
regular  concert  at  which  Beethoven,  Schubert,  and  Mendelssohn  were 
represented,  John  Sullivan  D wight  expressed  himself  as  follows  :  "  Was 
there  really  so  much  deep,  sincere,  heartfelt  enjoyment  ?  To  what  ex- 
tent was  the  crowd  composed  of  the  same  musically  loyal  spirits  ? 
Does  not  the  music  appeal  more  to  the  unmusical,  at  least  to  many 
whom  better  music  had  always  failed  to  reach  ?  Was  not  the  enjoyment 
more  sensational,  the  charm  most  operative  on  more  coarse-grained 
natures  ? ' ' 

The  extent  to  which  Wagner  has  been  played  from  the  very  begin- 
ning is  a  token  of  the  entire  freedom  with  which  the  leaders  have  made 
their  programmes. 

30 


BEGINNINGS  UNDER  HENSCHEL 

composers,  but  I  should  not  like  to  bar  them  out  of  our 
programmes.  People  of  education  equally  objected  to 
the  later  compositions  of  Beethoven  as  those  of  a  luna- 
tic. Possibly  they  are  right.  But  of  course  anything 
unworthy  is  to  be  shut  out. 

I  would  ask  that  the  soloists  sing  good  music  always 
and  that  if  possible  concerts  for  the  production  of  the 
best  songs  be  given.  I  would  also  originate  if  possible 
good  chamber-concerts.  They  are  very  charming  and 
peaceful  —  the  proper  place  for  the  best  songs  and  for 
piano  music.  All  in  good  time,  such  concerts  might  be 
given  by  the  men,  who  should  be  fetched  out  on  fixed 
salaries,  and  by  the  local  or  by  star-pianists.  It  is  always 
pleasant  to  give  any  new  singer  or  player  one  or  two 
chances  to  appear  for  the  first  time,  if  the  aspirant  is 
good. 

As  regards  public  rehearsals,  the  conductor  should 
be  instructed  that  he  is  to  drill  his  orchestra,  and  to 
correct  it  and  to  cause  it  to  repeat  again  and  again  dur- 
ing these,  just  as  during  any  rehearsals,  and  in  no  way 
to  regard  them  as  concerts. 

If  the  general  plan  of  giving  concerts  succeeds,  which 
the  public  will  determine,  and  if  we  fetch  out  a  con- 
ductor and  ten  musicians  or  so,  and  find  that  also  suc- 
cessful, I  should  incline  to  engaging  the  full  orchestra 
as  originally  intended,  with  a  view  to  enlarging  the 
present  scheme.  The  men  will  gladly  come  in,  because 
this  orchestra  will  be  the  chief  concert-orchestra  of  this 
city,  and  because  a  fixed  salary  is  agreeable.  Then,  I 
think  that  the  orchestra  might  play  with  the  singing- 
societies,  one  and  all,  and  perhaps  with  the  opera-corn- 

31 


BOSTON  SYMPHONY  ORCHESTRA 

panics  coming  here,  and  also  on  any  extraordinary 
occasions.  I  should  not  care  to  do  such  work  for  less 
than  a  fair  market  price,  except  in  the  case  of  the  sing- 
ing-societies, which  seek  only  education  and  legitimate 
pleasure.  These  societies  might  use  well  a  larger  orches- 
tra, but  probably  take  as  few  men  as  possible  to  avoid 
expense.  The  good  of  the  cause  requires  us  to  furnish 
what  the  music  of  the  concert  needs,  —  and  that  is  our 
only  gauge  of  price. 

I  think  the  orchestra  should  be  composed  as  fol- 
lows :  — 

Wind  instruments,  etc.,  about  20 

1st  violins,  12 

2d  violins,  I2 

Violas,  10 

Violoncellos,  8 

Bass-violins,  8 

In  all  70 

If  we  could  have  14  first  violins,  etc.,  so  much  the 
better,  and  perhaps  the  proportions  are  not  quite 
correct. 

Of  course  much  of  this  depends  on  the  sum  at  com- 
mand. It  is  my  intention  to  bring  this  up  to  one  mil- 
lion dollars  and  as  much  more  as  may  be,  for  two 
million  dollars  might  well  be  used.  I  think  that  70 
men  could  be  engaged  and  kept  at  1 1,500  apiece  yearly, 
giving  us  all  the  time  needed  for  rehearsals  and  concerts. 
This,  with  a  good  salary  for  the  conductor  and  for  two 
concert-masters,  1 5,000  +  $3,000  +  $1,000  =  $11 5,000. 

The  winter-concerts  which  we  give  should  bring  in 
on  average  $1,000, — 

32 


BEGINNINGS  UNDER  HENSCHEL 

And  with  fifty  concerts,  we  should  have  $50,000 

The   summer-concerts   and  the    other  earnings 

might  be  35^000 

$85,000 
This  leaves  against  us  a  balance  of  $25,000 

To  which   add   for  the  hall,  soloists,  advertis- 
ing, etc.  25,000 
To  be  supplied                                                 $50,000 

The  chance  is  that  more  would  be  needed,  but  time 
will  tell.  But,  assuming  these  figures  to  be  right, 
1 1,000,000  would  suffice.  I  think  that  we  shall  need 
soloists  for  great  orchestral  concerts  in  the  winter,  and 
at  times  in  the  summer. 

One  more  thing  should  come  from  this  scheme, 
namely,  a  good,  honest  school  for  musicians.  Of  course 
it  would  cost  us  some  money,  which  would  be  well 
spent. 

I  think  that  younger  musicians,  the  scholars  growing 
up  here,  should  be  taken  into  the  orchestra  as  a  school 
of  training,  and  should  be  gradually  incorporated  into 
that  body,  thus  supplying  fresh  and  good  material, — 
this  of  course  hingeing  on  their  quality  as  musicians, 
and  on  their  education. 

I  should  hope  also  that  a  thoroughly  good  society 
of  men  and  women,  who  each  can  sing  at  sight,  would 
be  formed  for  the  purpose  of  studying  the  old  church 
music,  like  the  old  Italian  and  old  German  composi- 
tions. This  work  which  might  be  taken  by  our  con- 
ductor in  his  spare  hours  —  but  it  is  beside  our  purpose. 

The  question  of  pensions  for  the  members  of  the 
orchestra  has  been  on  my  mind,  but  it  seems  better 

33 


BOSTON  SYMPHONY  ORCHESTRA 

that  each  musician  should  lay  aside  yearly  something 
and  thus  pension  himself.  However,  I  may  be  wrong 
in  all  this. 

My  two  best  advisers  outside  of  my  own  household 
have  been  Mrs.  George  D.  Howe,  who  knows  and 
loves  music  well,  and  who  has  been  most  cordial  and 
efficient  in  the  whole  matter,  and  Mr.  John  P.  Lyman, 
who  has  a  great  love  of  music,  excellent  sense-training, 
and  ability  as  a  business  man,  and  who  is  attending  to 
the  business  details  of  the  scheme.  These  two  friends 
will  help  the  good  cause  to  the  end,  no  doubt. 

If  this  scheme  seems  too  extensive,  I  will  only  add 
that  it  is  a  wish  and  not  an  intention  —  to  be  carried 
out  exactly  according  to  the  judgment  of  my  executors. 

H.  L.   HiGGINSON. 

Such  was  the  carefully  thought-out  plan. 
Whether  the  paper  embodying  it  was  written 
just  before  or  just  after  the  choice  of  a  first  con- 
ductor for  the  Orchestra,  it  seems  to  have  been 
**in  the  air"  that  the  project  was  near  its  birth, 
and  that  that  event  would  occur  immediately 
upon  Mr.  Higginson's  discovery  of  the  leader  for 
whom  he  was  waiting.  The  local  conductors, 
Carl  Zerrahn,  Bernhard  Listemann,  Louis  Maas, 
and  others,  had,  in  varying  degree,  done  notable 
service  to  the  cause  of  music  in  Boston ;  but  the 
concerts  occasionally  given  by  Theodore  Thomas 

34 


BEGINNINGS  UNDER  HENSCHEL 

had  set  a  standard  which  the  local  leaders  could 
hardly  have  been  expected  to  attain  ;  and  per- 
haps some  true  instinct  may  have  whispered  that 
the  quickest  and  surest  way  to  prestige  and  pop- 
ular success  lay  through  the  glamour  of  a  pic- 
turesque and  striking  personality,  a  man  whose 
laurels  had  been  won  in  foreign  cities  and  not  in 
the  Music  Hall  of  Boston.  There  is  nothing  to 
show  that  such  an  instinct  was  at  work,  yet  there 
can  be  little  doubt  that  the  selection  of  Mr. 
Georg  (now  Sir  George)  Henschel  to  lead  the 
new  orchestra  brought  to  the  undertaking  an  ele- 
ment of  the  romantic,  the  debatable,  the  essen- 
tially popular,  that  stood  it  in  good  stead. 

The  very  circumstances  of  his  choice  were  such 
as  to  arrest  the  public  attention.  On  March  3, 
1 88 1,  the  Harvard  Musical  Association  gave  the 
last  concert  of  its  sixteenth  season.  One  of  the 
numbers  on  the  programme  was  "  Concert  Over- 
ture [Ms.  1870]  First  time.  Henschel."  Mr. 
Henschel,  composer,  baritone  singer,  and  teacher, 
born  in  Germany  thirty-one  years  before,  had 
recently  come  from  London  with  his  pupil,  Miss 
Lilian  Bailey,  a  Boston  singer  of  rare  musical  and 

35 


BOSTON  SYMPHONY  ORCHESTRA 

personal  charm,  whom  he  was  soon  to  marry. 
As  a  compliment  to  Carl  Zerrahn  and  J.  S. 
Dwight,  who  had  shown  them  many  kindnesses, 
they  offered  their  services  at  the  Harvard  Mu- 
sical Concert.  Their  offer  was  accepted,  and  Mr. 
Henschel  was  asked  to  conduct  his  own  Concert 
Overture.  For  the  purposes  of  this  volume  he  has 
recently  recalled  his  connection  with  the  Boston 
Symphony  Orchestra.  His  Concert  Overture,  he 
writes,  "  received  an  excellent  rendering  and  had 
quite  a  success.  Whether  it  was  that  perhaps  I 
had  succeeded  in  infusing  some  of  my  own  youth- 
ful enthusiasm  into  the  orchestra,  among  the 
members  of  which  there  was  many  a  one  who  in 
point  of  age  could  have  been  my  father  or  even 
my  grandfather  —  anyhow,  a  few  days  after  the 
concert,  I  had  a  letter  from  Major  Higginson, 
asking  me  to  meet  him." 

Another  version  of  the  occurrence  was  given 
by  William  F.  Apthorp  in  the  "Boston  Evening 
Transcript"  of  September  30,  191 1.  The  result 
of  the  young  leader's  conducting,  according  to 
this  account  of  the  matter,  "  was  an  overwhelm- 
ing *Veni,  Vidi,  Vici'  success.    It  may  even  be 

36 


BEGINNINGS  UNDER  HENSCHEL 

said  that  the  quality  of  the  composition  itself 
was  well-nigh  lost  sight  of  in  the  general  enthusi- 
asm for  the  vigor,  power,  and  effectiveness  of  the 
performance.  Here  seemed  to  be  a  man  who  held 
an  orchestra  in  the  hollow  of  his  hand,  and  could 
make  it  do  what  he  listed!  Mr.  Higginson,  who 
was  in  the  audience,  may  be  fancied  as  breath- 
ing a  soft,  but  heartfelt,  *  Eureka ! '  " 

An  early  friend  and  servant  of  the  Orchestra 
has  recalled  the  further  fact  that  when  Mr.  Hen- 
schel  took  the  baton  to  lead  the  playing  of  his 
composition  he  did  not  mount  the  conductor's 
platform,  but  stood  among  the  musicians,  of  whom 
he  seemed  thus  to  be  remarkably  one.  In  the 
recalling  of  this  circumstance  it  is  also  remem- 
bered that  so  signal  an  identification  of  leader 
and  orchestra  impressed  Mr.  Higginson  as  a 
strong  point  in  favor  of  Georg  Henschel  as  the 
man  he  was  seeking. 

As  an  evidence  that  the  impression  made  by 
his  performance  was  not  confined  to  the  one  or 
two  hearers  who  had  the  needs  of  a  new  orches- 
tra in  mind,  it  is  worth  while  to  give  portions  of 
a  letter  to  the  "Courier"  signed  "W,"  and  dated 

37 


BOSTON  SYMPHONY  ORCHESTRA 

March  6,  three  days  after  the  Harvard  Musical 
Concert:  — 

We  have  always  been  impressed  that  Henschel  had 
some  great  trait  about  him.  As  a  singer  he  has  been 
seen  at  his  worst;  as  a  pianist  he  must  be  regarded  as 
possessing  rare  abilities;  as  a  composer  he  is  eminent; 
but  as  a  conductor  he  rises  preeminent.  Let  it  be  said 
to  his  great  credit  that  since  Anton  Rubinstein  con- 
ducted his  "Ocean  Symphony  "  at  the TremontTemple, 
no  such  masterly,  magnetic  conducting  has  been  seen 
in  Boston  as  was  observed  in  Mr.  Henschel  while  di- 
recting his  Overture  at  the  last  Harvard  Symphony 
Concert.  When  we  say  this,  we  bear  in  mind  every 
conductor,  local  and  otherwise,  who  has  wielded  the 
baton  before  a  Boston  audience.  No  doubt  many  recol- 
lect the  wonderful  results  that  Rubinstein  produced  at 
once  with  an  orchestra  wholly  unused  to  his  conducting. 
From  the  moment  Rubinstein  took  the  baton  the  mu- 
sicians became  something  else  than  what  we  had  al- 
ways known  them.  His  magnetic  presence  and  the 
power  of  his  genius  possessed  them  and  awakened  them 
to  a  new  life.  They  saw  and  felt  before  them  the  man 
that  controlled  them.  Their  best  efforts  were  at  his 
command.  It  has  remained  for  Mr.  Henschel  to  repeat 
this  revelation,  and  to  show  a  Boston  audience  in  what 
consists  a  great  conductor.  .  .  . 

The  Harvard  Musical  Association  announces  that 
during  the  season  of  1 8  8 1-8 2  it  will  give  its  seventeenth 
series  of  symphony  concerts.  Let  them  make  no  mis- 
take now  that  accidentally,  but  fortunately,  the  man 

38 


BEGINNINGS  UNDER  HENSCHEL 

has  been  discovered  whose  powers  are  eminent  enough 
to  raise  orchestral  music  from  its  languishing  condition 
in  Boston.  Let  them  see  to  it  that  your  concerts  are 
not  to  furnish  an  opportunity  for  further  exhibition  of 
mediocrity  in  conducting,  nor  for  the  trial  of  a  novice 
in  the  case  of  a  change,  or  to  furnish  routine  towards 
the  cultivation  of  one  whose  ambition  looks  toward  the 
goal,  but  whose  abilities  can  never  reach  it,  except  in 
imagination.  In  our  opinion,  with  Mr.  Georg  Henschel 
as  conductor  and  with  the  old  fogyism  wiped  out  and 
more  progressive  ideas  substituted  in  the  counsels  of 
the  managers,  the  Harvard  Musical  Association  will 
receive  the  support  of  the  patrons  of  music  in  this  city, 
and  become,  next  season,  an  artistic  and  financial  success. 

The  success  predicted  here  for  the  Harvard 
Musical  Association  was,  however,  destined  for 
the  organization  at  the  head  of  which  Georg 
Henschel  was  to  stand.  A  few  words  from  his 
recollections  of  these  early  days  have  already  been 
used.  The  rapid  progress  of  events  may  now 
be  followed  by  proceeding  with  the  narrative 
dropped  at  the  point  of  his  summons  to  a  meet- 
ing with  Mr.  Higginson,  at  the  house  of  Mrs. 
George  D.  Howe:  — 

At  that  meeting  Mr.  Higginson  revealed  to  me  his 
plan  of  founding  a  new  orchestra  in  Boston,  and  asked 
me  if  eventually  I  would  undertake  to  form  such  an 

39 


BOSTON  SYMPHONY  ORCHESTRA 

orchestra  and  conduct  a  series  of  concerts  with  it;  add- 
ing that  of  course  he  quite  understood  singing  to  be  a 
more  lucrative  thing  than  conducting  so  that,  as  —  if 
I  accepted  —  I  could  not  earn  as  much  money  by  sing- 
ing as  if  I  were  free,  he  would  make  my  salary  such  as 
to  make  it  worth  my  while.  I  would  be  absolutely  my 
own  master,  no  one  would  interfere  with  my  programme 
making — there  would,  in  fact,  be  no  committee,  etc. 
I  answered  that  it  had  always  been  my  ambition  to  be 
a  conductor,  that  I  just  had  quite  a  success  as  such  in 
London  when  I  did  Brahms'  "Triumphlied"  for  the 
first  time  in  England,  that  the  offer  was  a  very  tempting 
one,  and,  that  if  he  would  give  me  a  little  time  for  con- 
sidering the  matter,  I  was  almost  sure  I  'd  be  glad  to 
accept  it. 

That  was  the  first  interview.  We  agreed  not  to  speak 
about  the  matter  to  any  one,  and  Higginson  said  I'd 
hear  from  him  again.  In  March  of  that  year,  I  was 
married  to  Miss  Bailey,  and  the  very  day  after  the  wed- 
ding I  received  a  telegram,  at  Washington,  from  Mr. 
Higginson  offering  me  the  engagement,  which  I  ac- 
cepted. A  week  later  I  returned  with  my  young  wife 
to  Boston  where  Mr.  Higginson  and  I  settled  details. 
In  order  not  to  make  "boses  Blut"  —  as  Mr.  Higgin- 
son, who  was  an  excellent  German  scholar,  put  it — 
i.  e.  to  say,  in  order  not  to  give  offence  at  first,  Mr. 
Higginson  advised  me  to  engage  for  the  first  season 
only  the  available  local  players.  I  submitted  to  Mr. 
Higginson  my  idea  of  what  I  thought  the  programmes 
of  such  concerts  should  be,  viz.:  in  the  first  part: 
Overture,  a  Solo,  either  vocal  or  instrumental,  and  the 

40 


BEGINNINGS  UNDER  HENSCHEL 

Symphony;  the  second  part  to  be  short  and  of  con- 
siderable lighter,  popular  character.  He  approved  of 
that,  as  also  of  my  plan  of  giving  —  in  so  long  a  series 
of  concerts  —  every  one  of  the  nine  Beethoven  Sym- 
phonies, of  course  in  numerical  order.  We  both  thought 
it  wise  to  make  the  contract  for  one  year  only,  so  as  to 
leave  us  both  free  at  the  end  of  the  season. 

The  understanding  at  which  Mr.  Higginson 
and  Mr.  Henschel  arrived  must  have  been  reached 
with  some  celerity,  for  on  March  30  the  Boston 
newspapers  contained  the  following  announce- 
ment:— 

THE  BOSTON  SYMPHONY  ORCHESTRA 
IN  THE  INTEREST  OF  GOOD  MUSIC 

Notwithstanding  the  development  of  musical  taste  in 
Boston,  we  have  never  yet  possessed  a  full  and  per- 
manent orchestra,  offering  the  best  music  at  low  prices, 
such  as  may  be  found  in  all  the  large  European  cities, 
or  even  in  the  smaller  musical  centres  of  Germany.  The 
essential  condition  of  such  orchestras  is  their  stability, 
whereas  ours  are  necessarily  shifting  and  uncertain,  be- 
cause we  are  dependent  upon  musicians  whose  work  and 
time  are  largely  pledged  elsewhere. 

To  obviate  this  difficulty  the  following  plan  is  offered. 
It  is  an  effort  made  simply  in  the  interest  of  good  music, 
and  though  individual  inasmuch  as  it  is  independent 
of  societies  or  clubs,  it  is  in  no  way  antagonistic  to  any 
previously  existing  musical  organization.  Indeed,  the 

41 


BOSTON  SYMPHONY  ORCHESTRA 

first  step  as  well  as  the  natural  impulse  in  announcing 
a  new  musical  project,  is  to  thank  those  who  have 
brought  us  where  we  now  stand.  Whatever  may  be  done 
in  the  future,  to  the  Handel  and  Haydn  Society  and  to 
the  Harvard  Musical  Association  we  all  owe  the  greater 
part  of  our  home  education  in  music  of  a  high  charac- 
ter. Can  we  forget  either  how  admirably  their  work  has 
been  supplemented  by  the  taste  and  critical  judgment 
of  Mr.  John  S.  Dwight,  or  by  the  artists  who  have 
identified  themselves  with  the  same  cause  in  Boston? 
These  have  been  our  teachers.  We  build  on  foundations 
they  have  laid.  Such  details  of  this  scheme  as  concern 
the  public  are  stated  below. 

The  orchestra  is  to  number  sixty  selected  musicians  ; 
their  time,  so  far  as  required  for  careful  training  and 
for  a  given  number  of  concerts,  to  be  engaged  in  ad- 
vance. 

Mr.  Georg  Henschel  will  be  the  conductor  for  the 
coming  season. 

The  concerts  will  be  twenty  in  number,  given  in  the 
Music  Hall  on  Saturday  evenings,  from  the  middle  of 
October  to  the  middle  of  March. 

The  price  of  season  tickets,  with  reserved  seats,  for 
the  whole  series  of  evening  concerts  will  be  either  ^lo 
or  $5,  according  to  position. 

Single  tickets,  with  reserved  seats,  will  be  seventy-five 
cents  or  twenty-five  cents,  according  to  position. 

Besides  the  concerts,  there  will  be  a  public  rehearsal 
on  one  afternoon  of  every  week,  with  single  tickets  at 
twenty-five  cents,  and  no  reserved  seats. 

The  intention  is  that  this  orchestra  shall  be  made 

42 


BEGINNINGS  UNDER  HENSCHEL 

permanent  here,  and  shall  be  called  "  The  Boston  Sym- 
phony Orchestra." 

Both  as  the  condition  and  result  of  success  the  sym- 
pathy of  the  public  is  asked. 

H.    L.    HiGGINSON. 

For  the  immediate  public  reception  of  this  an- 
nouncement, a  single  article  from  a  daily  news- 
paper will  sufficiently  speak:  — 

The  straightforward,  business-like  statement  concern- 
ing a  series  of  symphony  concerts  to  be  given  next 
season,  which  appeared  a  few  mornings  since  over  the 
signature  of  H.  L.  Higginson,  was  entirely  satisfying 
to  those  personally  acquainted  with  Mr.  Higginson,  but 
the  independent  character  of  the  statement  left  the  pub- 
lic at  large  in  doubt  as  to  its  genuineness.  It  is  hardly 
a  matter  of  surprise  that,  after  the  problem  "How  can  a 
permanent  orchestra  be  sustained  in  Boston  ?  "  had  puz- 
zled the  brains  of  enthusiasts  in  the  cause  of  music  here 
for  a  decade  or  more,  the  reliability  of  such  a  complete 
solution  should  be  questioned  at  first.  Mr.  Higginson 
has  practically  said  by  his  announcement:  "I  will  supply 
Boston  with  an  orchestra  of  60  musicians.  Mr.  Georg 
Henschel  will  conduct  it,  and  20  concerts  will  be  given, 
with  programmes  selected  by  Mr.  Henschel,  each  Satur- 
day evening  from  the  middle  of  October,  1881,  to  the 
middle  of  March,  1882  ;  the  admission  will  be  25  and 
50  cents,  and  the  tickets  will  be  put  on  sale  to  the  pub- 
lic at  large  without  restrictions."  It  is  perfectly  evident 
that,  under  no  circumstances,  will  the  receipts  equal  the 
expenditures  for  this  series  of  concerts,  and  Mr.  Hig- 

43 


BOSTON  SYMPHONY  ORCHESTRA 

glnson  does  not  expect  that  they  will.  .  .  .  He  desires 
no  assistance  and  has  made  his  plans  public,  after  the 
careful  consideration  which  any  successful  business  man 
gives  all  matters  before  entering  upon  their  accom- 
plishment. It  is  entirely  safe  to  assert  that  no  citizen 
of  Boston  ever  matured  a  plan  for  the  advantage  of  his 
fellows  with  less  ostentation  than  Mr.  Higginson  in 
this  affair,  and  the  practical  benefit  to  Boston  can 
hardly  be  overestimated.  No  programme  will  be  pre- 
sented until  the  orchestra  has  had  it  in  ample  rehearsal, 
and  no  pecuniary  considerations  will  hamper  the  con- 
ductor in  this  careful  preparation  for  each  performance. 
The  final  rehearsal  will  be  made  public  at  a  uni- 
form charge  of  25  cents,  and,  as  these  will  occur  in  the 
afternoon,  opportunities  will  be  afforded  for  all  classes 
to  hear  the  Boston  Symphony  Orchestra  during  the 
coming  season,  that  being  the  name  selected.  Mr.  Hig- 
ginson claims  no  merit  for  this  radical  innovation  upon 
the  traditions  of  public  concert  giving,  holding  it  to  be 
a  duty,  which  every  American  owes,  to  do  something 
with  the  means  at  his  command  for  the  benefit  of  his 
fellows.  He  has  not  taken  this  step  with  a  view  to  an- 
tagonize any  one,  or  any  body  or  association,  but  merely 
to  supply  Boston  with  a  permanent  orchestra  which 
shall  reflect  ^credit  upon  the  city,  and  he  has  taken 
what  to  him  was  the  most  practical  way  to  accomplish 
this  result. 

It  was  not  in  Boston  only  that  the  project  at- 
tracted attention  and  commendation.  As  if  to 
foreshadow  both  the  possibilities  and  the  realities 

44 


BEGINNINGS  UNDER  HENSCHEL 

of  the  effect  in  other  cities  of  such  a  foundation  as 
the  Boston  Symphony  Orchestra,  a  San  Francisco 
paper  soon  exclaimed  :  "  What  a  wealth  of  enjoy- 
ment is  promised  in  Mr.  Higginson's  modest  little 
circular  !  Oh  !  for  a  few  such  men  in  our  midst ! 
We  could  name  half  a  dozen  of  our  wealthy 
citizens,  who,  either  individually  or  collectively, 
would  not  feel  a  pang  at  the  paltry  loss  of  a  few 
hundred  dollars !  "  Thus  at  the  very  outset  the 
significance  of  the  enterprise  was  capable  of  more 
than  a  local  interpretation. 

That  the  documentary  character  of  this  record 
of  beginnings  may  be  resumed,  it  is  well  to  turn 
at  the  present  point  to  an  "  Account  of  the  Bos- 
ton Symphony  Orchestra"  dictated  by  Mr.  Hig- 
ginson  in  October,  191 1,  — just  thirty  years  after 
the  opening  of  the  first  season.  Though  its  earlier 
paragraphs  touch  on  matters  with  which  the  pre- 
ceding pages  have  dealt  in  some  detail,  they  could 
not  be  dropped  without  a  loss  in  that  sense  of 
unity  which  binds  together  the  vague  and  the  def- 
inite plans  for  a  permanent  Symphony  Orchestra 
in  Boston.  The  opening  pages  of  this  "Account" 
are  as  follows  :  — 

45 


BOSTON  SYMPHONY  ORCHESTRA 

During  some  years  of  my  youth,  spent  in  Germany 
and  especially  in  Austria,  whither  I  went  to  study  mu- 
sic, I  conceived  the  hope  to  see  an  orchestra  in  Boston 
which  should  play  as  well  as  the  great  orchestras  of 
Europe  and  give  concerts  at  a  reasonable  price. 

Naturally,  I  lived  much  with  musicians  as  well  as 
with  other  people,  and  came  to  know  their  ways  and 
methods  of  study  and  of  execution,  and  saw  how  good 
concerts  were  produced. 

After  two  years,  it  became  clear  that  I  had  no  talent 
for  playing  or  for  composition  ;  that  there  was,  in  short, 
no  soil  in  which  to  cultivate  a  garden  ;  and  so  I  came 
home  to  the  troubles  of  i860  and  the  Civil  War. 

That  war  taught  a  great  many  men  that  if  we  were  to 
have  a  country  worthy  of  the  name,  we  must  work  for 
it,  educate  it,  as  well  as  fight  for  it,  and  this  duty  lay 
upon  every  individual  citizen,  be  it  man  or  woman. 
Such  had  been  the  creed  of  the  men  with  whom  I  had 
lived  from  boyhood,  and  as  most  of  them  were  killed 
in  the  war,  my  duty  was  the  greater  in  order  to  fill  up 
the  gap  which  their  death  had  left. 

The  end  of  the  Civil  War  left  me  without  an  occu- 
pation or  money,  and  with  a  wife  whom  it  was  my  first 
duty  to  support ;  so  for  many  years  my  hope  for  music 
lay  asleep.  At  last,  in  one  or  two  years  ending  in  1880, 
luck  had  turned  my  way,  and  enabled  me  to  take  up 
this  project  in  earnest  early  in  188 1.  I  knew  where  to 
ask  about  the  cost  of  musicians,  and  knew  what  musi- 
cians went  to  make  an  orchestra. 

I  needed  a  conductor,  as  Mr.  Zerrahn  was  worn  out, 
and  just  at  that  time  Georg  Henschel  came  to  this  town 

46 


BEGINNINGS  UNDER  HENSCHEL 

to  sing,  and  from  the  way  he  conducted  an  overture  of 
his  own  at  a  Harvard  Musical  concert,  it  seemed  that 
he  might  be  trusted  to  begin  my  work.  He  was  a  mu- 
sician of  varied  talents,  but  had  no  experience  as  a  con- 
ductor. With  his  assistance  and  approval  I  engaged 
the  needed  men  — almost  all  musicians  who  lived  here. 
The  plans  were  made,  the  announcement  of  the  con- 
certs was  put  forth,  and  we  were  to  be  ready  to  start  in 
the  autumn  of  1881.  I  had  reckoned  that  the  concerts 
would  cost  me  about  $20,000  a  year  deficit,  for  I  knew 
the  prices  necessary  to  pay  the  men,  and  reckoned  on 
low  fees  for  entrance. 

By  the  help  of  a  kind  friend,  control  of  the  Boston 
Music  Hall  had  been  acquired,  which  was  necessary, 
as  many  and  long  rehearsals  were  essential  to  my  idea 
of  an  orchestra.  I  told  Mr.  Henschel  that  the  concerts 
should  be  short  —  an  hour  and  a  half  to  an  hour  and 
three-quarters ;  that  they  should  begin  punctually  at 
eight  o'clock  in  the  evening  and  at  half  past  two  o'clock 
in  the  afternoon,  the  latter  being  the  public  rehearsal, 
and  the  former  being  the  concert ;  that  the  conductor 
was  to  have  the  sole  artistic  direction  of  everything ;  that 
he  was  to  have  the  right  to  demand  as  many  rehearsals 
as  he  saw  fit ;  and  that,  in  my  opinion,  nothing  but  con- 
stant, steady,  intelligent  playing  and  rehearsing  under 
one  conductor  and  one  conductor  alone  would  make 
the  Orchestra  good. 

From  long  knowledge  of  the  Austrian  ways,  I  knew 
that  all  these  points  were  essential,  and  also  was  sure 
that  we  must  not  bore  the  public  by  long  concerts.  At 
first,  Mr.  Henschel  did  not  agree  that  the  men  should 

47 


BOSTON  SYMPHONY  ORCHESTRA 

play  only  under  one  conductor,  but  in  a  few  weeks  he 
came  to  see  that  this  condition  was  right.   .   .   . 

As  the  professional  musicians  of  the  town  played 
here  and  there,  gave  lessons,  took  out-of-town  engage- 
ments, and,  in  short,  were  unable  to  rehearse  as  much 
as  was  necessary,  the  concerts  could  not  rise  to  the 
proper  point.  At  any  rate,  such  was  my  idea. 

Two  questions  were  before  me:  Could  I  bring  the 
Orchestra  up  to  the  proper  point,  which  meant  an  able 
and  experienced  conductor  and  good  musicians  devoted 
to  the  work,  and  could  I  pay  the  bill  ?  The  latter  point 
I  was  willing  to  risk,  and  for  the  former  I  was  willing 
to  struggle. 

Considering  the  newness  of  the  scheme,  the  concerts 
went  on  well  enough  during  the  first  winter,  and  were 
well  received.  The  public  was  generous  and  kindly 
then,  as  it  always  has  been.  Toward  the  end  of  the 
season  I  gave  out  that  the  concerts  would  go  on,  and 
that  I  should  ask  the  men  to  play  only  under  one  con- 
ductor. This  caused  trouble  at  once,  and  all  but  four 
men  of  the  Orchestra  refused  my  terms.  The  news- 
papers took  their  side,  and  one  prominent  critic  accused 
me  of  trying  to  make  a  "corner  in  musicians."  The 
men  sent  a  delegate  to  see  me.  This  delegate  was  pleas- 
ant and  clever  and  laughed  at  my  statement  that  the 
concerts  would  go  on  and  that  it  was  only  a  question 
of  who  would  play.  Therefore,  on  the  next  public  re- 
hearsal day  I  went  to  the  green-room  of  the  Music 
Hall  and  asked  the  men  to  come  in  after  the  rehearsal, 
which  they  did.  I  then  said  to  them  :  "  I  made  a  propo- 
sition to  you  which  you  have  rejected.  I  withdraw  my 


BEGINNINGS  UNDER  HENSCHEL 

proposition.  The  concerts  will  go  on  as  they  have  this 
year,  and  in  this  hall.  If  any  of  you  have  anything  to 
say  to  me  in  the  way  of  a  proposition,  you  will  make 
it"  —  and  that  meeting  was  over.  During  the  next  few 
days  almost  every  man  came  to  me  and  asked  to  be 
engaged.  The  delegate  from  the  Orchestra  was  not  one 
of  them. 

During  the  second  and  third  years  Mr.  Henschel 
conducted  as  before,  gaining  experience  and  skill  in  his 
work,  —  and  the  concerts,  so  far  as  I  remember,  were 
fair,  and  were  growing  better.  People  would  say  to  me: 
"  Is  n't  the  Orchestra  splendid  ?  "  to  which  I  replied : 
"  It  is  not,  —  it  is  learning,  and  will  be  good  by  and 
by." 

Mr.  Henschel  was  engaged  for  one  year  and  then 
for  two  years  more,  and  toward  the  end  of  the  second 
year  I  went  to  Europe  for  pleasure,  and  with  the  in- 
tention of  seeking  another  conductor.  Therefore,  I  did 
not  hear  the  concerts  the  third  year,  except  the  last  of 
the  season. 

The  one  year  and  two  years  more  of  Mr.  Hen- 
schel's  conductorshlp  in  Boston  were  years  of 
vivid  excitement  in  the  musical  community.  The 
very  idea  of  an  orchestra  established  on  the  basis 
of  the  new  organization  —  under  private  auspices 
for  public  benefit,  with  a  conductor  to  whose 
hands  were  committed  the  resources  of  an  un- 
heard-of  artistic    and   financial   freedom  —  was 

49 


BOSTON  SYMPHONY  ORCHESTRA 

startling  enough  to  account  for  many  early  mis- 
conceptions. The  unconventional  aspect  of  the 
whole  affair  was  rendered  the  more  striking  by 
the  pronounced  personality  of  the  first  conductor. 
Somebody  more  nearly  colorless  might  have  car- 
ried the  Orchestra  through  its  early  years  without 
exciting  special  remarks.  By  slower  degrees  the 
Orchestra  might  have  become  the  "institution" 
into  which  it  rapidly  grew.  In  the  eighties  the 
word  "  temperamental "  had  not  acquired  the 
vogue  it  has  had  through  some  of  the  interven- 
ing years  ;  but  the  quality  for  which  it  stands 
existed  then  as  now,  and  it  was  precisely  that 
quality — in  Mr.  Henschel  and  his  conducting 
—  which  divided  the  local  music-lovers  into  the 
camps  of  his  admirers  and  his  opponents.  Now 
that  it  has  all  become  a  matter  of  history,  one  can 
see  in  the  very  brilliancy  of  the  first  season  —  in 
the  conductor's  fire  which  brought  delight  to 
many  but  led  one  critic  to  remark,  "Not  that  we 
object  to  fire,  but  we  would  rather  be  warmed  by 
it  than  roasted  in  a  furious  conflagration" — an 
element  of  the  highest  value  to  the  young  organi- 
zation. In  the  strangeness,  then,  of  the  enterprise 

50 


BEGINNINGS  UNDER  HENSCHEL 

as  a  whole,  and  in  the  impossibility  of  looking 
with  mere  indifference  upon  such  an  artist  as 
Georg  Henschel,  must  be  found  the  reason  why 
the  record  of  the  early  years  is  so  largely  a  record 
of  partisan  discussion. 

Hardly  had  Mr.  Henschel's  appointment  to 
the  leadership  of  the  Orchestra  been  announced 
when  a  local  journal,  on  April  i6,  1881,  de- 
clared :  — 

Some  protest  is  certainly  needed  to  stem  this  tide 
of  adulation  that  rises  and  breaks  at  the  feet  of  Mr. 
Henschel.  We  have  had  conductors  in  Boston  and 
good  ones.  It  is  a  mistaken  idea  of  Mr.  Henschel's 
friends  —  if  not  of  his  own  —  that  we  have  waited  here, 
all  unconscious  of  our  own  poverty  and  great  needs, 
for  this  musical  trinity  combined  in  the  person  of  Mr. 
Henschel  —  oratorio  exponent,  composer,  and  orches- 
tral conductor.  We  are  not,  and  have  not  been,  half  as 
ignorant  as  they  suppose. 

Whatever  the  musical  needs  of  Boston  may 
have  been,  Mr.  Henschel  lost  no  time  in  pre- 
paring to  meet  them.  Of  these  preparations  and 
of  his  own  attitude  toward  the  reception  of  his 
work  by  the  public  and  the  critics,  he  has  written 
as  follows  in  the  statement  from  which  extracts 
have  already  been  made  :  — 

51 


BOSTON  SYMPHONY  ORCHESTRA 

As  it  was  my  intention  to  take  my  wife  to  Europe 
that  summer,  Mr.  Higginson  commissioned  me  to  ac- 
quire, whilst  there,  a  Hbrary  for  the  Orchestra  and 
when,  after  a  few  months'  sojourn  in  Europe,  I  returned 
to  Boston  I  brought  with  me  a  fairly  representative 
library  of  orchestral  music,  classical  and  modern,  which 
I  myself  indexed,  catalogued,  placing  each  separate 
work  in  a  case  of  its  own,  numbering,  entitling  the  parts, 
etc.,  thus  forming  the  nucleus  of  what  now  must  be  a 
formidable  fine  library.  A  month  before  the  first  con- 
cert—  [October  22,  1 88i]  — we  commenced  to  rehearse 
and,  needless  to  say,  there  was  much  speculation  going 
on  in  the  papers  as  to  how  the  matter  would  turn  out. 
Popularly,  it  was  a  decided,  genuine  success  from  the 
first.  The  public  rehearsals  for  which  tickets  were  only 
issued  at  the  doors  —  indeed,  I  am  not  sure  if  the 
people  did  not  simply  pay  their  twenty-five  cents  at  the 
door  in  passing  into  the  building  —  were  crowded.  I 
remember  my  surprise  when,  on  going  to  the  public 
rehearsal  for  the  last  concert,  at  which  the  Ninth  Sym- 
phony was  performed,  I  found  a  crowd  waiting  for  ad- 
mission which  reached  from  the  old  Music  Hall  to  the 
church  on  Tremont  Street.  Of  course  a  great  many  peo- 
ple had  to  turn  back  and  I  myself,  in  the  Hall,  had  diffi- 
culty to  reach  the  conductor's  desk,  as  every  available 
space  even  on  the  platform  was  occupied  by  audience. 

The  press,  however,  as  you  will  see  in  the  papers  of 
the  period,  was  rather  divided  in  their  opinion  of  Mr. 
Higginson's  wisdom  as  regards  the  venture,  especially 
as  regards  his  choice  of  a  conductor  of  so  little  experi- 
ence. One  paper  —  I  think  it  was  called  the  "  Saturday 

52 


BEGINNINGS  UNDER  HENSCHEL 

Gazette,"  a  distinctly  society  paper  —  showed,  and  for 
some  time  maintained,  a  decidedly  hostile  attitude. 

The  musical  season  to  which  Mr.  Henschel 
returned  in  the  early  autumn  of  1881  gave  every 
promise  of  uncommon  richness  in  orchestral  con- 
certs. Besides  the  twenty  performances  of  the 
Symphony  Orchestra,  the  Harvard  Musical  Asso- 
ciation and  the  Philharmonic  Society  announced, 
between  them,  forty-one  concerts  —  sixty-one 
in  all.  It  was  correctly  pointed  out  in  one  of  the 
newspapers  that,  in  spite  of  the  presence  of  three 
leaders  —  Henschel,  Zerrahn,  and  Maas —  there 
would  be  "but  one  orchestra  in  Boston,  larger, 
better  rehearsed,  with  its  good  elements  made 
more  of,  and  its  weak  points  better  strengthened 
than  we  had  ever  had  before.  Each  society  will 
have  its  own  conductor,  but  the  orchestra  will  be 
essentially  the  same."  When  the  tickets  for  the 
first  season  of  the  Boston  Symphony  Orchestra 
concerts  were  placed  on  sale,  early  in  September, 
there  was  an  astonishing  demand  for  them.  At 
six  o'clock  on  the  morning  when  the  sale  began, 
seventy-five  persons  stood  in  the  line,  some  hav- 
ing been  there  all  night,  and  one  being  credited 

53 


BOSTON  SYMPHONY  ORCHESTRA 

with  appearing  on  the  scene  at  three  o'clock  of 
the  previous  afternoon.  "  Some  people,"  said  the 
**  Transcript,"  on  September  9,  "  aghast  at  the 
rush  for  tickets,  ask,  in  astonishment,  where  all 
the  audience  comes  from.  Where  have  all  these 
symphony-concert  goers  been  during  the  last  ten 
years,  that  they  have  hidden  themselves  so  com- 
pletely from  public  view  ?  .  .  .  Cheap  prices 
have  had  some  effect,  but  not  so  much  as  many 
persons  suppose.  *  Fashion '  is  an  ugly  word  to  use 
in  connection  with  art  matters,  but  all  matters 
have  their  nether  side."  The  taunt  that  "  fash- 
ion "  was  a  powerful  motive  with  many  concert- 
goers  was  frequently  repeated  through  the  early 
years.  No  doubt  its  operations  were  as  strong  in 
certain  quarters  as  a  genuine  love  of  music  was 
in  others,  for  fashion  is  bound  to  exert  its  sway. 
The  fortunate  thing  for  Boston  during  the  reign 
of  this  motive  was  that  fashion  had  such  an  art 
as  that  of  the  best  orchestral  music  to  wreak  it- 
self upon.  It  is  reasonably  certain  that  some  of 
those  who  came,  if  not  to  scoff,  at  least  to  endure, 
remained,  if  not  to  pray,  at  least  to  enjoy. 
While  the  devout  and  those  who  would  seem 

54 


BEGINNINGS  UNDER  HENSCHEL 

so  were  preparing  themselves  for  the  first  con- 
cert, Mr.  Henschel  and  the  Boston  musicians 
were  more  definitely  doing  likewise.  The  spirit 
in  which  the  early  rehearsals  were  undertaken 
may  be  felt  in  the  following  letter  from  the 
leader  to  his  men:  — 

To  THE  Members  of  the  Boston  Symphony  Or- 
chestra. 

Gentlemen,  —  I  beg  leave  to  say  a  few  words  to  you 
now,  in  order  to  avoid  waste  of  time  after  our  work  has 
once  begun. 

Wherever  a  body  of  men  are  working  together  for 
one  and  the  same  end  as  you  and  I,  the  utmost  of  unity 
and  mutual  understanding  is  required  in  order  to  achieve 
anything  that  is  great  or  good. 

Every  one  of  us,  engaged  for  the  concerts  we  are  on 
the  point  of  beginning,  has  been  engaged  because  his 
powers,  his  talents  have  been  considered  valuable  for 
that  purpose.  Every  one  of  us,  therefore,  should  have 
a  like  interest  as  well  as  a  like  share  in  the  success  of 
our  work,  and  it  is  in  this  regard  that  I  address  you 
now,  calling  your  attention  to  the  following  principal 
points,  with  which  I  urgently  beg  of  you  to  acquaint 
yourselves  thoroughly  :  — 

I.  Let  us  be  punctual.  Better  ten  minutes  before 
than  one  behind  the  time  appointed. 

II.  Tuning  as  well  as  playing  will  cease  the  moment 
the  conductor  gives  the  sign  for  doing  so. 

III.  No  member  of  the  Orchestra,  even  supposing 

55 


BOSTON  SYMPHONY  ORCHESTRA 

that  his  presence  be  not  needed  for  the  moment,  will 
leave  the  hall  during  the  time  of  the  rehearsals  and  con- 
certs without  the  consent  of  the  conductor. 

IV.  The  folios  containing  the  parts  will  be  closed 
after  each  rehearsal  and  concert. 

V.  Inasmuch  as  we  are  engaged  for  musical  purposes, 
we  will  not  talk  about  private  matters  during  the  time 
of  the  rehearsals  and  concerts. 

Hoping  that  thus  working  together  with  perfect  un- 
derstanding, our  labors  will  be  crowned  with  success,  I 
am,  gentlemen, 

Your  obedient  servant, 

Georg  Henschel. 


Mr.  Henschel's  idea  of  the  kind  of  programme 
to  be  chosen,  as  expressed  in  his  words  already 
quoted,  was  well  exemplified  at  the  first  concert. 
When  the  first  audience  of  the  Boston  Symphony- 
Orchestra  assembled  in  Music  Hall,  it  was  pro- 
vided with  the  programme  here  reproduced. 

With  the  audience  the  concert  found  the  high- 
est favor.  The  construction  of  the  programme, 
with  overture,  soloist,  and  finally  the  symphony 
before  the  intermission,  which  was  followed  by 
lighter  music  intended  to  send  the  hearers  home 
in  good  humor,  seemed  ideal.  Indeed,  it  is  held 
by  some  of  the  most  faithful  of  Boston  concert- 

S6 


Boston  Music  Hall. 

BOSTON  SYMPHONY  ORCHESTRA, 

MR.   GEORG   HENSCHEL,    Conductor. 

I.  C0NCERT. 

Saturday,  October  22d.  at  8,  P.  M. 

PROGRAMME. 
OVEUTUKE,  Op.  124,  "Dcdiciilion  of  the  IIou.se."  BEETHOVEN. 

AIR.     (Oiphous.)  ......••         CLUCK. 

SYMPHONY  in  B  flat. JtAYDN. 

(No.  12  of  nieilkoprs  edition.) 

BALLET  MUSIC.     (Rosamundc.)        ....        SCHUBERT. 

SCENA.     (Odysseus!) MAX  BRUCH. 

FESTIVAL  OVERTUliE WEBER. 


SOLOIST: 

MISS   ANNIE    LOUISE   GARY. 


BOSTON  SYMPHONY  ORCHESTRA 

goers  that  no  subsequent  leader  has  surpassed 
Georg  Henschel  in  the  difficult  art  of  programme- 
making.  The  fervor  with  which  he  inspired  the 
Harvard  Musical  Orchestra  in  the  momentous 
concert  of  March  3  made  itself  felt  once  more. 
In  the  belief  of  William  F.  Apthorp,  expressed 
thirty  years  later,  it  was,  for  some  strange  rea- 
son, never  so  fully  shown  again.  However  that 
may  be,  the  spirit  of  the  music  so  affected  the 
audience  that  when  the  English  national  air  was 
recognized  in  Weber's  Festival  Overture,  "  the 
people" — in  the  "Traveller's"  account  of  the  in- 
cident—  "arose  en  masse  and  remained  standing 
until  the  close.  This  delicate  and  appropriate 
compliment  was  a  feature  not  down  on  the  pro- 
gramme, and  was  all  the  more  worthy  of  praise, 
coming  as  it  did  from  a  universal  sentiment  of 
respect  to  Her  Majesty  and  the  mother  country." 
The  strangeness  of  the  circumstance,  as  it  appears 
to  our  later  view,  is  that  so  recently  as  1881  the 
melody  which  brought  the  audience  to  its  feet 
was  known  for  "  God  Save  the  Queen,"  and  not 
"America." 

The  musical  critics  of  the  local  press  found 

58 


BEGINNINGS  UNDER  HENSCHEL 

much  to  commend  in  this  first  concert,  though 
there  was  dissatisfaction  with  the  seating  of  the 
Orchestra  according  to  a  plan  which  was  not  long 
retained,  and  —  more  particularly  —  with  Mr. 
Henschel's  "un-Haydnesque"  and  altogether  un- 
traditional  manner  of  conducting  Haydn's  sym- 
phony. The  tempi  at  which,  especially  for  the 
first  year,  he  took  familiar  pieces  of  classic  music 
afforded  one  of  the  chief  grounds  for  adverse  criti- 
cism. Before  many  concerts  had  been  given,  this 
criticism,  in  some  of  the  local  journals,  became 
positively  clamorous.  Before  the  end  of  Novem- 
ber such  violent  language  had  been  used  that  a 
writer,  over  the  signature  "  Pro  Bono  Publico,'* 
felt  called  upon  to  contribute  to  the  "  Herald " 
a  long  letter  entitled  "  Mr.  Georg  Henschel's 
Critics  Criticized."  After  reviewing  the  musical 
situation  in  Boston,  the  letter  proceeded  with 
severe  and  specific  personal  comments  upon  the 
writers  connected  with  the  "  Saturday  Evening 
Gazette,"  the  "Advertiser,"  and  the  "Tran- 
script," and  brought  itself  thus  to  an  end:  — 

Let  me  ask,  is  it  fair,  just,  honorable,  or  even  decent 
for  the  managers  of  these  papers  to  permit  such  critics 

59 


BOSTON  SYMPHONY  ORCHESTRA 

to  vilify,  malign,  abuse,  and  ridicule  a  gentleman  of  Mr. 
Henschel's  abilities,  a  born  musician,  a  student  of  or- 
chestra music  for  years,  an  artist,  who  has  appeared  be- 
fore the  public,  under  the  leadership  of  no  less  than 
eighty  different  conductors  in  various  parts  of  the  world, 
and  who  has  passed  all  his  time,  when  not  profession- 
ally engaged  in  the  great  musical  events  of  the  last  dec- 
ade, in  watching  the  methods  of  the  master  musicians 
of  Great  Britain  and  the  Continent ;  a  man  who  is  re- 
cognized as  a  brother  musician  and  peer  by  the  leading 
composers  of  Europe,  and,  withal,  a  simple,  earnest, 
devoted  worker  for  the  highest  and  best  in  music  at  all 
times  ?  Is  it  courteous,  to  say  no  more,  to  permit  such 
criticisms  upon  concerts  given  under  circumstances  never 
known  before  in  the  world's  history,  concerts  given  to 
the  people  of  Boston,  as  an  educational  institution, 
through  the  public  spirit  and  liberality  of  a  single  pri- 
vate citizen,  and  he  a  man  so  modest  and  unassuming 
that  he  selects  the  name,  Boston  Symphony  Orchestra, 
for  the  organization  which,  but  for  his  own  efforts  and 
generous  expenditure,  would  never  have  existed  ? 

If  the  gentlemen  of  the  press  desire  to  organize  a 
clamor  against  Mr.  Henschel,  they  will  find  his  friends 
quite  ready  to  meet  them.  The  fact  has  been  established 
that  Mr.  Henschel  is  a  success  as  a  conductor.  He  has 
had  serious  difficulties  to  overcome  on  account  of  the 
indifferent  and  demoralized  condition  of  his  men.  He 
has  not  yet  been  able  to  prevent  some  of  the  old  fid- 
dlers from  doubling  their  backs  like  a  cobbler,  and  draw- 
ing their  bows  as  they  would  so  many  wax-ends ;  but 
he  has,  nevertheless,  added  new  blood,  and  imparted 

60 


BEGINNINGS  UNDER  HENSCHEL 

much  of  his  own  enthusiasm,  ardor,  and  life  into  the 
mechanical  old  stagers,  so  that  the  result  has  been  an 
agreeable  surprise  to  all  of  us,  and  which  has  never 
been  seen  under  the  baton  of  any  other  conductor.  As  a 
whole,  the  orchestra  is  certainly  equal  to  any  one  we 
have  ever  had  in  Boston,  and,  if  it  is  not  already,  by 
the  end  of  the  season  I  doubt  not  it  will  be  the  best 
one  of  its  class  in  America. 

To  this  the  criticized  critics  made  eager  re- 
sponse. "Of  course,"  said  the  "Saturday  Even- 
ing Gazette,"  in  a  reply  some  thousands  of  words 
in  length,  "we  have  not  the  remotest  intention 
of  replying  to  the  ill-mannered  scurrilities  of  a 
poltroon  who  sneaked  into  print  and  into  ma- 
licious representation  under  a  false  name.  The 
only  real  injury  he  has  done  has  been  to  Mr. 
Henschel,  who  may  exclaim,  *Save  me  from 
such  friends  as  this ! ' " 

A  less  partisan  writer  on  musical  matters  de- 
plored the  arraying  of  opinion  "*on  sides,'  the 
one  side  only  vaunting  the  merits,  the  other  only 
decrying  the  defects.  Letters  have  been  published 
on  both  sides,  and,  as  is  usual  in  such  cases,  con- 
vince nobody,  but  add  to  the  acrimony  of  the 
debate." 

6i 


BOSTON  SYMPHONY  ORCHESTRA 

In  a  letter  to  John  S.  Dwight,  Mr.  Higgin- 
son  wrote,  March  i8,  1882:  — 

The  papers,  as  representing  a  few  uncandid  or  hasty 
and  at  least  ill-mannered  so-called  critics,  have  lashed 
themselves  into  a  fury  which  is  truly  comic.  It  suggests 
a  little  boy  making  faces  at  himself  in  a  mirror.  But  I 

am  rather  surprised  that should  allow  himself  to 

write  false  statements  and  then  to  comment  on  them  in 
so  childish  a  fashion.  Of  course  he  does  n't  intend  to 
utter  lies,  but  he  does,  for  half-truths  are  lies  in  mean- 
ing. Of one  certainly  can  expect  only  the  habits 

of  a  wild  beast. 

Altogether  there  was  exhibited  a  temper  which 
did  scant  credit  to  those  who  expressed  them- 
selves most  freely.  Some  of  the  humor  which 
naturally  found  its  way  into  the  discussion  was 
good-natured,  and  some  the  reverse.  One  of  the 
occasions  for  jocose  remark  sprang  from  that 
versatility  of  Mr.  Henschel's  which  permitted, 
and  amply  justified,  his  appearance  in  various  roles. 
Writing  one  week  of  a  concert  to  come,  Mr. 
Louis  C.  Elson,  with  characteristic  vivacity,  fore- 
saw "a  good  deal  of  Henschel  in  the  programme. 
That  gentleman  will  appear  as  pianist,  composer, 
and  conductor,  and  he  has  already  appeared  as  a 

62 


BEGINNINGS  UNDER  HENSCHEL 

singer  in  the  series.  That  is  a  good  deal  for  one 
man  to  do.  But  he  will  do  it  all  with  satisfaction 
to  the  public,  which  seems  to  be  entirely  capti- 
vated by  him.  The  only  thing  he  cannot  do  is 
to  appear  as  a  string  quartette,  or  sing  duets  with 
himself."  There  was  considerably  less  of  friendly 
feeling  in  an  elaborate  mock-programme  of  an 
"  Eggschel  Concert;  Conductor,  Henor  Egg- 
schel,"  brought  out  in  a  form  modelled  upon 
that  of  the  Symphony  Concerts.  Conductor, 
composers,  performers,  manager,  all  bore  the 
name  of  "  Eggschel,"  and  the  titles  of  the  vari- 
ous numbers  were  "Zum  Andenken,"  "Vergiss- 
mein-nicht,"  "And  Don't  you  Forget  it,"  "Sou- 
viens-toi,"  "Non  ti  scordar  di  me,"  "Ne  obli- 
viscaris,"  and  "Then  you  '11  remember  me." 

There  was  indeed  no  danger  that  Georg  Hen- 
schel  would  escape  the  attention  of  the  Boston 
public.  The  very  purveyors  of  such  wit  as  that 
of  the  mock-programme  were  helping  to  hold 
the  gaze  of  the  community  upon  him.  Mean- 
while his  own  hold  upon  members  of  the  Orches- 
tra bore  its  testimony  to  the  true  success  of  the 
work  he  was  doing.  On  February  20,  1882,  the 

63 


BOSTON  SYMPHONY  ORCHESTRA 

Boston  correspondent  of  "Music,"  a  journal  pub- 
lished in  New  York,  wrote:  — 

The  musicians  are  very  fond  of  their  leader,  and 
thoroughly  dislike  the  naughty  critics,  when  they  find 
fault  with  him.  This  makes  criticism  in  Boston  very 
lively,  and  gives  a  degree  of  excitement  to  the  writing 
of  reviews,  which  prevents  the  critic  from  suffering 
from  ennui.  This  fermentation  occasions  a  mild  sur- 
prise in  London,  where  the  "Musical  World"  blandly 
remarks  :  "  Henschel  is  still  in  vogue  in  Boston."  The 
expression  "in  vogue"  does  not  express  it  by  any 
means.  He  is  a  creed  —  devoutly  accepted  by  some; 
scornfully  rejected  by  others.  The  last  concert,  Feb- 
ruary 1 8th,  occurred  on  the  occasion  of  his  birthday 
(he  was  thirty-two  years  old),  and  was  not  celebrated, 
as  those  of  Mozart  and  Beethoven  had  been,  by  a 
series  of  compositions  from  the  pen  of  the  maestro; 
but  the  Orchestra,  nevertheless,  observed  the  occasion 
by  presenting  him  with  a  silver  salad  set,  after  the  con- 
clusion of  the  symphony.  It  was  a  fitting  recognition, 
and  one  which  we  were  glad  to  see  made  in  public. 
Those  who  carp  at  its  pubHcity  should  remember  the 
many  tokens  which  Mr.  Zerrahn  has  received  under 
similar  circumstances.  I,  for  one,  am  glad  to  recognize 
the  great  merit  and  services  of  this  conductor.  He  has 
done  more  for  Boston's  music  than  any  other  man 
has  accomplished  in  the  same  space  of  time.  I  earnestly 
hope  he  may  stay  to  reap  the  result  of  the  harvest  he 
has  sown.  And  as  the  blind,  unreasoning  flattery  of  his 
too  enthusiastic  admirers  fades  out,  the  antagonism  which 

64 


BEGINNINGS  UNDER  HENSCHEL 

it  awakes  in  the  critics  will  also  die  away,  and  the  real 
worth  of  the  great  musician  stand  more  firm  than  ever. 

In  his  letter  of  the  following  week,  the  corre- 
spondent of  "Music"  pronounced  Henschel  "a 
veritable  Brahmin  in  his  passion  for  Brahms," 
and  declared,  "there  are  more  dissonances  in 
Music  Hall  now  in  a  week  than  there  used  to  be 
in  a  year.  The  medicine  administered  to  Boston 
at  present  may  be  thus  analyzed:  — 

Extract  of  Brahms  .         .         .         .3  parts. 

Essence  of  Berlioz  .  .  .  .2  parts. 

Spirit  of  Henschel  .  .  .  .  .1  part. 

Shake  well  before  taking." 

His  next  communication  (March  11)  con- 
tained a  document  of  such  moment  in  the  annals 
of  the  period  and  so  comparatively  temperate  an 
expression  of  the  feeling  which  the  document 
excited  that  the  letter  may  well  be  used  entire :  — 

March  6.  —  It  is  a  good  thing  for  Mr.  Henschel 
that  he  received  his  silver  salad  set  from  his  Orchestra 
two  weeks  ago.  Just  at  present  there  is  no  desire  to 
give  Mr.  Henschel  anything  except  censure.  The  cause 
of  this  sudden  revulsion  of  feeling  is  that  Mr.  Hen- 
schel's  efforts  at  musical  reform  appear  to  have  sud- 
denly become  a  little  too  sweeping,  and  seem  to  include 

6s 


BOSTON  SYMPHONY  ORCHESTRA 

the  centralization  of  Boston's  music  in  the  hands  of  this 
conductor.  Within  a  few  weeks  past  the  members  of 
the  Boston  Orchestra  have  received  a  circular,  of  which 
the  following  is  a  copy :  — 

Boston,  Feb.  25,  1882. 

Mr. , 

Dear  Sir,  —  I  wish  to  engage  you  for  the  next  season  as 
.  .   .  under  the  following  conditions  :  — 

I.  The  Orchestra  will  have  as  conductor,  Mr.  Georg  Hen- 
schel,  and  as  leader,  Mr.  Bernhard  Listemann. 

II.  Your  services  will  be  required  on  each  week,  between 
October  i  and  April  i,  on  the  following  days:  Wednesday 
morning,  afternoon  and  evening:  Thursday  morning,  after- 
noon and  evening :  Friday  morning  and  afternoon  ;  Saturday 
morning  and  evening. 

III.  On  Wednesday  and  Thursday  all  your  time  will,  of 
course,  not  be  required,  but  you  must  be  ready  when  needed. 
You  will  be  expected  to  play  during  these  four  days  either  at 
concerts  or  at  rehearsals,  as  required.  If  it  is  necessary  to  give 
a  concert  occasionally  on  Friday  you  will  be  asked  to  give  that 
evening  in  place  of  another. 

IV.  On  the  days  specified  you  will  neither  play  in  any  other 
orchestra  nor  under  any  other  conductor  than  Mr.  Henschel, 
except  if  wanted  in  your  leisure  hours  by  the  Handel  and  Haydn 
Society,  nor  will  you  play  for  dancing. 

V.  I  offer  you  .  .  .  weekly,  and  also  your  expenses  when 
travelling  on  business  of  the  Orchestra. 

It  is  the  intention,  if  the  circumstances  are  as  favorable  as 
at  present,  to  make  this  a  permanent  orchestra  of  the  highest 
order. 

Its  success  will  depend  very  greatly  on  your  efforts  and  on 
your  cooperation. 

I  wish  to  offer  my  sincere  thanks  for  your  labor  and  zeal 

66 


THE  BOSTON   SYMPHONY   ORCHE; 
BEFORE  THE  " GREAl 


A,  GtOkG   HENSCHEL,  CONULCTOR 
<GAN"   IN   MUSIC   HALL 


BEGINNINGS  UNDER  HENSCHEL 

during  the  present  season,  and  hope  for  your  services  in  the 
next. 

In  order  to  facilitate  the  needed  arrangements,  your  answer 
is  expected  by  March  2.  Yours  truly, 

Henry  L.  Higginson. 

Now  this  circular  is  a  direct  stab  at  the  older  organ- 
izations and  rival  conductors  of  Boston.  It  means  that 
one  or  two  organizations  may  make  efforts  to  place  their 
concerts  on  the  off  days  which  Mr.  Henschel  has  been 
pleased  to  allow  them,  but  some  must  be  left  in  the  cold, 
orchestraless  and  forlorn.  I  do  not  deny  that  it  may  make 
Mr.  Henschel's  musicians  work  with  better  effect  under 
him,  but  I  wonder  (as  the  boy  did  when  he  had  com- 
pleted the  study  of  the  alphabet)  whether  it  is  worth 
while  to  go  through  so  much  to  gain  so  little.  Mr. 
Henschel  is  a  good  conductor  and  a  thorough  musi- 
cian, but  he  is  not  the  only  one  that  Boston  possesses. 
Years  ago  Boston  was  ruled  by  a  ring  of  musicians  with 
as  much  musical  and  administrative  ability  as  Mr.  Hen- 
schel possesses,  yet  their  rule  was  held  to  be  detrimental 
to  the  highest  art  interests  of  the  city.  The  manner  in 
which  the  proposal  was  made  was  also  one  which  fore- 
bodes tyranny.  Some  of  the  oldest  members  of  the  Or- 
chestra, men  whose  services  to  music  in  Boston  have 
entitled  them  to  deference  and  respect,  were  omitted 
altogether,  and  will  be  left  out  of  the  new  organization. 
It  was  intimated  strongly  that  in  case  the  offer  was  re- 
jected by  the  men,  their  places  would  be  filled  from  the 
ranks  of  European  orchestras.  An  innovation  was  also 
made  in  the  salaries  (none  of  which  are  very  high),  and 
many  of  the  musicians  find  that  the  new  scale  of  com- 

67 


BOSTON  SYMPHONY  ORCHESTRA 

pensation  ranks  them  below  others  of  the  Orchestra 
whom  they  had  never  regarded  as  superiors. 

Spite  of  the  excuses  and  explanations  offered,  I  can- 
not but  view  the  scheme  as  arbitrary,  and  thoroughly 
adverse  to  the  real  growth  of  music  in  Boston.  The 
musicians  have  rejected  it,  and  it  remains  to  be  seen 
whether  the  conductor  will  perceive  his  mistake  and 
gracefully  yield  his  point,  or  will  punish  the  resisting 
ones  by  glutting  the  Boston  music  market  with  orches- 
tral performers. 

The  local  newspapers  were  more  violent  in 
their  condemnation  of  a  plan  of  which  the  sole 
object  was  —  in  the  words  just  quoted  —  to 
"  make  Mr.  Henschel's  musicians  work  with 
better  effect  under  him."  The  "Transcript "  re- 
coiled from  Mr.  Higginson's  proposal  and  its 
"extraordinary  stipulation  that  all  the  players 
shall  bind  themselves  by  contract  to  give  him 
their  whole  time  for  four  consecutive  days  of 
every  week.  .  .  .  He  thus  *  makes  a  corner '  in 
orchestral  players,  and  monopolizes  them  for  his 
own  concerts  and  those  of  the  Handel  and  Haydn 
Society.  .  .  .  Mr.  Higginson's  gift  becomes  an 
imposition,  it  is  something  that  we  must  receive, 
or  else  look  musical  starvation  in  the  face.  It  is 
as  if  a  man  should  make  a  poor  friend  a  present 

68 


BEGINNINGS  UNDER  HENSCHEL 

of  several  baskets  of  champagne,  and,  at  the  same 
time,  cut  off  his  whole  water  supply."  Still 
harsher  words  are  found  in  the  "Transcript's" 
further  comment  on  the  matter,  though  the  critic 
held  himself  well  within  the  bounds  set  by  the 
"Gazette"  in  describing  the  "  monopoly  of  mu- 
sic" as  "an  idea  that  could  scarcely  have  ema- 
nated from  any  association  except  that  of  deluded 
wealth  with  arrant  charlatanism." 

This  particular  tempest  in  a  tea-pot  was  fortu- 
nately of  short  duration.  Misconceptions  were 
soon  removed,  and  the  situation  was  clearly  pre- 
sented through  an  article  in  the  "Advertiser," 
evidently  authoritative,  from  which  the  follow- 
ing passage  is  taken :  — 

And  this  brings  us  to  the  subject  of  Mr.  Higgin- 
son's  relations  to  the  enterprise.  That  these  should 
have  been  from  the  outset  misunderstood  is,  perhaps, 
not  very  strange,  but  some  of  the  recent  criticisms  seem 
particularly  mistaken  and  unjust.  Mr.  Higginson  has 
established  a  permanent  orchestra.  His  plan  is  not  for 
next  year  or  a  few  years  only.  What  exact  shape  it  will 
finally  assume,  and  what  will  be  the  machinery  of  its 
administration,  cannot  yet  be  said.  Mr.  Higginson  has 
very  wisely  postponed  giving  it  any  unalterable  char- 
acter, and  the  first  arrangements  are  necessarily  tenta- 

69 


BOSTON  SYMPHONY  ORCHESTRA 

tive.  Therefore  for  a  time  the  direction  is  largely  in  his 
own  hands.  But  to  assert  that  this  is  because  of  a  de- 
sire for  autocratic  control,  and  that  Mr.  Higginson  is 
disposed  to  improve  the  occasion  to  gratify  a  fondness 
for  arbitrary  dictation,  is  a  reckless  charge  so  particu- 
larly wide  of  the  truth  that  all  who  know  Mr.  Higgin- 
son must  have  read  such  intimations  with  almost  as 
much  amusement  as  indignation.  That  the  management 
is  principally  in  him  is  for  the  present  necessary,  but  it 
is  exercised  with  a  very  earnest  desire  to  serve  the  pub- 
lic in  the  best  way.  Those  who  consider  how  many 
clashing,  selfish  interests  the  project  has  already  aroused 
may  well  think  it  fortunate  that  its  first  tender  begin- 
nings were  not  entrusted  to  any  general  board  made  up 
in  the  vain  attempt  to  conciliate  opposition. 

The  proposal  which  Mr.  Higginson  has  made  for 
next  season  to  the  musicians  has  been  fir^t  misrepre- 
sented and  then  severely  condemned.  The  facts  are 
these  :  It  has  become  plain,  after  this  season's  expe- 
rience, that  a  permanent  orchestra  must  be  kept  more 
rigidly  together,  and  that  the  members  must  be  some- 
what restricted  in  their  miscellaneous  outside  engage- 
ments. These  would  seem  to  be  movements  most 
obviously  in  the  direction  of  better  discipline  and  effi- 
ciency. No  one  could  long  assume  the  responsibility 
of  educating  a  permanent  orchestra  and  not  tighten 
the  discipline  in  this  manner.  Without  this,  improve- 
ment is  restricted,  and  beyond  a  certain  near  limit  be- 
comes impossible.  No  musician  can  do  his  best  in  the 
midst  of  a  highly  trained  orchestra,  who  has  played  all 
the  night  before  at  a  ball,  or  who  plays  every  alternate 

70 


BEGINNINGS  UNDER  HENSCHEL 

night  under  a  different  leader  and  with  different  asso- 
ciates. 

In  offering  engagements  for  the  ensuing  season,  Mr. 
Higginson  has  accordingly  required  of  each  musician  a 
large  part  of  the  last  four  days  in  the  week  for  work  in 
this  orchestra.  On  one  of  these  days  is  to  be  the  pub- 
lic concert,  on  two  of  them  public  rehearsals,'  and  on 
one  or  another  of  them  probably  a  concert  in  some 
suburban  place.  Other  work  on  those  days  is  not  ab- 
solutely prohibited.  Teaching  and  even  playing  in  small 
groups  is  allowed,  but  large  orchestral  work  is  forbidden. 

Such  is  the  proposal,  but  it  is  subject  to  modification. 
Each  musician  is  free  to  accept  or  decline.  Some  have 
already  accepted,  some  declined,  many  have  not  yet 
answered.  It  is  hard  to  see  how  any  musician  can  com- 
plain of  an  offer  coupled  with  restrictions  so  obviously 
necessary  to  the  success  of  the  work  at  large.  That  the 
offer  is  unremunerative  is  not  contended.  If  it  so  hap- 
pens in  any  case,  the  musician  will  naturally  decline. 
The  pay  is  adjusted  to  the  grade  of  the  musician,  and 
is  meant  to  give  a  good  return.  Mr.  Higginson  has 
dealt  with  the  musicians  in  the  fairest  and  pleasantest 
way,  and  invited  every  one  to  come  and  discuss  his 
case  with  him;  and  if  any  of  the  musicians  are  not  yet 
persuaded  of  his  desire  to  deal  fairly  with  them,  it  must 
be  those  who  have  not  taken  him  at  his  word,  and 
talked  the  matter  over  with  him  face  to  face. 

When  the  first  season  was  virtually  at  an  end 
a  correspondent  of  the  "Advertiser,"  writing  as 

'  There  was  only  one  such  rehearsal. 
71 


BOSTON  SYMPHONY  ORCHESTRA 

"  one  who  knows,"  made  the  further  statement, 
here  given  :  — 

Now  that  the  first  season  of  the  Boston  Symphony 
Orchestra  is  drawing  to  an  immediate  close,  it  might  be 
well  to  say  a  few  words,  as  from  one  who  knows,  about 
its  maintenance  and  its  permanence  as  an  institution, 
two  points  which  would  seem  to  have  been  but  vaguely 
understood  or  appreciated  by  the  majority  of  the  con- 
cert-going public. 

Last  year,  when  Mr.  Higginson  told  us  that  he  was 
going  to  give  us  an  orchestra,  to  have  and  to  hold,  he  did 
it  in  so  few  words,  and  so  quiet  and  almost  over- modest 
a  manner,  that,  perhaps,  it  was  natural  that  many  of  us 
should  not  have  really  understood  the  nature  of  his 
donation.  The  fact  is  that  he  gives  to  Boston  a  stand- 
ing orchestra,  just  as  another  might  give  a  library  or  a 
collection  of  pictures,  to  be  enjoyed  for  such  very  mod- 
erate prices  that  the  pleasure  and  privilege  is  open  to 
all.  And  this  is  not  for  one  year,  or  for  two  years,  but 
for  all  the  years  that  we  will  enjoy  it  by  being  interested 
and  educated  and  comforted  by  it.  The  material  of 
which  this  orchestra  may  be  composed,  and  the  artist 
who  may  conduct  it,  will  always  be  the  best  that  can 
be  found  here,  or  brought  from  over  the  seas  to  recruit 
the  ranks.  This  is  not  an  enterprise,  or  a  business  spec- 
ulation, and  the  terms  loss  and  gain,  which  we  have 
heard  so  often  lately  relating  to  it,  are  not  in  its 
conception  or  nature.  The  expenses  of  outlay  are  so 
very  much  larger  than  any  possible  income  of  re- 
ceipts could   be  that  if  the  plain  figures  could  only 

72 


BEGINNINGS  UNDER  HENSCHEL 

be  seen  there  would  be  no  misconception  in  any  one's 
mind. 

Of  the  many  worries  and  the  annoying  details  which 
have  necessarily  attended  the  carrying -out,  single- 
handed,  of  this  wide  and  serious  plan,  of  the  patience 
and  forbearance  which  have  been  shown,  not  only  to 
misconception,  but  to  malicious  and  futile  detraction, 
we  say  nothing  because  silence  is  best  and  worthiest; 
and  we  say  no  word  of  thanks  to  the  giver  of  this  good 
thing,  because  we  know  that  he  wants  no  thanks  in 
words.  But  we  do  think  it  right  that  all  the  people 
who  have  been  to  the  concerts  this  year,  feeling  that 
they  could  enjoy  good  music  with  no  strain  upon  their 
purses  to  interfere  with  their  pleasure,  and  all  those 
who  shall  go  next  year,  should  know  what  is  being 
done  for  them  and  for  their  children.  In  their  gratifi- 
cation will  be  his  gladdest  reward. 

Soon  afterwards,  Mr.  Higginson,  himself,  in 
the  "Advertiser*'  of  March  21,  1882,  published 
the  following  letter:  — 

To  THE  Editors  of  the  Boston  Daily  Adver- 
tiser :  — 
When  last  spring  the  general  scheme  for  the  con- 
certs of  the  Boston  Symphony  Orchestra  was  put  forth, 
the  grave  doubt  in  my  mind  was  whether  they  were 
wanted.  This  doubt  has  been  dispelled  by  a  most 
kindly  and  courteous  public,  and  therefore  the  scheme 
will  stand.  The  concerts  and  public  rehearsals,  with 
Mr.  Georg  Henschel  as  conductor,  will  go  on  under 

73 


BOSTON  SYMPHONY  ORCHESTRA 

the  same  conditions  in  the  main  as  to  time,  place, 
programmes,  and  prices.  Any  changes  will  be  duly 
made  public  when  the  tickets  are  advertised  for  sale. 

Henry  L.  Higginson. 


The  continuance  of  the  Symphony  Concerts 
having  been  thus  quietly  assured,  the  interested 
contemporary  must  have  looked  with  some  so- 
licitude for  the  opening  of  the  second  season. 
He  may  not  have  been  aware  how  enormously 
he  and  his  kind  outnumbered  the  vociferous 
critics.  The  figures,  however,  tell  a  suggestive 
story.  The  twenty  concerts  of  the  first  season 
were  attended  by  49,374  persons;  the  twenty 
rehearsals  by  33,985  —  a  total  of  83,359,  the 
average  total  being  4,168.  That  they  were  well 
pleased  with  what  they  heard  may  be  inferred 
from  the  fact  that  in  the  second  season,  when 
the  number  of  concerts  was  raised  from  twenty 
to  twenty-six,  the  total  attendance,  at  concerts 
and  rehearsals,  was  1 1 1  jj"]"],  an  average  total  of 
4,299.  There  could  hardly  have  been  stronger 
evidence  that  the  Orchestra  was  achieving  its 
intended  purpose. 

Yet   in  the  very  popularity  of  the   concerts 

74 


BEGINNINGS  UNDER  HENSCHEL 

lay  an  occasion  for  dissatisfaction  —  an  occasion 
which  during  the  first  two  seasons,  when  all  the 
season  tickets  were  sold  at  the  box  office  of 
Music  Hall,  caused  the  management  most  anx- 
iety. There  seemed  no  way  of  preventing  the 
ticket-speculators  from  buying  the  seats,  and  sell- 
ing them  at  such  an  advance  of  price  as  quite  to 
frustrate  the  purpose  of  providing  the  best  music 
at  charges  within  the  reach  of  all.  A  clipping 
from  a  daily  newspaper  recalls  the  situation  at 
the  opening  of  the  second  season  :  — 

The  interest  taken  in  the  coming  series  of  sym- 
phony concerts  by  the  Boston  Orchestra,  under  the 
direction  of  Mr.  Georg  Henschel,  is  shown  by  the 
demand  for  season  tickets.  A  few  appeared  at  the  box 
office  at  Music  Hall  on  Saturday  morning  for  the  pur- 
pose of  securing  positions  in  the  line  of  purchasers. 
As  Music  Hall  was  to  be  used  they  were  not  allowed 
to  stand  in  the  passageway,  and,  accordingly,  stood  in 
line  on  Winter  Street.  Some  time  yesterday  afternoon 
others  came  and  formed  a  line  in  Music  Hall  Place. 
When  this  was  noticed  those  around  the  corner  made  a 
rush,  and  some  who  had  secured  good  positions  in  the 
first  place  were  not  so  fortunate  at  the  time  of  the 
change.  Early  Sunday  evening  the  line  rapidly  length- 
ened, and  at  seven  o'clock  there  were  more  than  a 
hundred  persons  in  line,  and  at  nine  o'clock  the  num- 

IS 


BOSTON  SYMPHONY  ORCHESTRA 

ber  had  increased  to  at  least  two  hundred.  Chairs, 
camp-stools,  and  even  a  long  wooden  settee  were  in 
the  service  of  these  patient  ones,  and  the  floor  of  the 
doorway  leading  to  the  vestibule  was  covered  by  about 
ten  individuals  lying  packed  as  close  as  sardines.  The 
time  was  passed  in  smoking,  chatting,  and  by  occa- 
sionally taking  a  promenade,  a  neighbor  securing  the 
seat  of  the  absent  one  until  he  returned.  When  the 
sale  of  tickets  began  there  were  about  three  hundred 
and  fifty  persons  in  line,  many  of  them  being  boys  who 
were  holding  positions  for  others.  Some  who  intended 
purchasing  only  two  tickets  would  take  orders  for  four 
more,  six  tickets  to  each  person  being  the  limit.  It  is 
said  that  the  second  man  in  the  line  sold  his  position 
for  thirty-five  dollars.  When  it  began  to  rain,  um- 
brellas were  raised  and  a  few  left  the  line. 

A  correspondent  signing  himself  "  Book 
Keeper,"  writing  to  the  press  about  the  plan  to 
provide  music  for  the  less  prosperous  lovers  of  it, 
and  commenting  on  the  audiences  of  the  previous 
season,  declared :  — 

I  saw  but  few  whom  I  should  believe  to  be  poor 
or  even  of  moderate  means.  A  large  proportion  of  the 
audiences  were  as  "  swell "  as  those  seen  at  the  Italian 
Grand  Opera.  "  Full  dress  "  was  to  be  seen  on  every 
hand.  I  should  be  very  glad  to  take  my  family  to  hear 
these  educating  and  refining  concerts,  but  I  have  not 
the  means  to  go  in  full  dress  ;  neither  can  I  afford  to 
pay  a  speculator  double  the  price  for  tickets  that  is 

76 


BEGINNINGS  UNDER  HENSCHEL 

asked  by  the  manager.   Is  not  Mr.  Higginson's  scheme 
a  failure,  practically  ? 

To  relieve  the  pressure  upon  the  box  office 
somebody  also  suggested  two  rehearsals  a  week, 
which  led  still  another  observer  of  the  situation 
to  write  :  — 

Goodness  gracious !  how  the  symphony  has  become 
the  very  breath  of  our  nostrils  !  And  this  after  sym- 
phonies have  been  played  for  years  to  a  few  handfuls 
of  aesthetic  Boston  ladies  of  either  sex  in  the  self-same 
hall,  with  about  the  same  performers  ! 

Still  there  were  doubts  whether  the  enterprise 
could  go  on.  In  the  "Home  Journal"  of  Sep- 
tember 30,  1882,  it  was  said:  — 

Symphony  concerts  may  be  given  for  a  number  of 
years  in  Boston  at  a  rate  which  will  certainly  involve 
pecuniary  loss  ;  but  it  is  not  at  all  probable  that  Mr. 
Higginson  will  have  his  successor  in  any  such  unap- 
preciated system  of  philanthropy.  .  .  .  Concert  man- 
agers generally  complain  of  the  prospects  of  a  dull 
season;  and  the  public  is  likely  to  be  forsaken  by 
those  who  have  long  been  counted  as  among  its  best 
friends.  Now  how  long  the  role  of  King  Ludwig  is  to 
be  played  in  Boston,  it  is  impossible  to  determine. 
Certain  it  is  that  no  one  is  profiting  by  it  save  the 
distinguished  conductor  of  the  Boston  Symphony  Or- 
chestra. 

77 


BOSTON  SYMPHONY  ORCHESTRA 

From  the  very  beginning  of  the  second  season 
it  was  evident  that  the  hostile  critics  had  spent 
most  of  their  fury  in  the  course  of  the  first  year. 
As  one  of  the  newspapers  remarked,  "  Either 
Mr.  Henschel  has  converted  the  critics,  or  the 
critics  have  converted  Mr.  Henschel.  Which  is 
it?"  Where  there  had  been  nothing  but  objec- 
tions to  Mr.  Henschel's  methods  and  manner, 
tacit  acceptance  and  even  positive  approval  began 
to  appear.  Doubtless  the  effect  of  playing  con- 
stantly under  one  leader  was  revealing  itself  in 
the  work  of  the  Orchestra.  Possibly  the  force 
of  public  satisfaction  with  the  results  already  at- 
tained was  telling  upon  the  critical  mind,  just  as 
any  strong  popular  sentiment  will  affect  the 
spokesmen  of  a  democracy.  Whatever  the  causes 
may  have  been,  the  inevitable  happened:  the 
Harvard  Musical  and  Philharmonic  concerts  gave 
place  to  those  of  the  stronger  and  younger  organi- 
zation, and  the  fears  of  those  who  foresaw  disas- 
ter to  the  cause  of  local  music  proved  groundless. 

While  the  Orchestra,  through  its  perform- 
ances, was  making  its  way  with  the  general  public, 
it  was  establishing  itself,  sometimes  by  vigorous 

78 


BEGINNINGS  UNDER  HENSCHEL 

assertions  of  independence,  with  professional  mu- 
sicians outside  its  immediate  ranks.  On  one  occa- 
sion in  the  early  days,  a  foreign  pianist  of  the 
highest  fame  was  engaged  and  announced  as  the 
soloist  for  a  certain  concert  rehearsal.  Before  the 
time  set  for  his  appearance,  he  demanded  payment 
in  advance  for  his  two  performances.  The  ques- 
tion was  considered,  with  the  result  that  the  pian- 
ist promptly  received  the  information  that  either 
the  concert  would  proceed  as  announced,  with 
the  stipulated  payment  after  the  Saturday  night 
concert,  or  the  piano  solo  would  be  dropped  from 
the  programme,  and  the  audience  would  be  told 
precisely  why.  The  great  soloist  immediately 
abandoned  his  contention,  and  the  concert  was 
played  complete.  As  with  pianist,  so  with  piano. 
There  had  been  a  general  practice,  which  older 
concert-goers  will  remember,  of  hanging  on  the 
side  of  the  piano  used  on  the  concert  platform 
an  enormous  gilt  sign  giving  the  name  of  the 
manufacturer.  The  elaborate  Gothic  "  Miller," 
"Steinway,"  or  "Weber"  still  presents  a  distract- 
ing image  to  musical  memory.  The  manage- 
ment of  the  Boston  Symphony  Orchestra  early 

79 


BOSTON  SYMPHONY  ORCHESTRA 

decided  that  such  a  sign  was  misplaced  and  intol- 
erable. The  local  purveyor.of  pianos  to  the  con- 
certs in  Music  Hall  was  told  that  his  sign  could 
no  longer  be  used.  He  replied  that  there  would 
then  be  no  piano.  Very  well,  the  piano  solo  would 
accordingly  be  omitted,  and  the  reason  would  be 
announced  to  the  audience.  Like  the  pianist,  the 
dealer  immediately  came  to  terms,  and  the  present 
use  of  unlabelled  instruments  was  inaugurated  — 
with  such  comforting  salve  to  the  dealer's  feelings, 
however,  as  a  note  on  the  programme  giving  the 
name  of  the  piano  might  well  afford. 

In  the  first  two  seasons  of  the  concerts  may  be 
found  the  beginnings  of  the  special  benefit  and 
memorial  performances  which  have  since  become 
familiar.  On  the  afternoon  of  November  9, 1882, 
a  portion  of  the  programme  of  the  first  concert 
in  the  Cambridge  series  was  publicly  rehearsed  in 
Music  Hall  for  the  benefit  of  the  widow  and  four 
children  of  a  German  musician  and  composer  of 
merit,  who,  on  September  30,  succumbed  to  the 
fever  at  Pleasant  Hill,  Washington  County,Texas, 
in  the  thirty-fifth  year  of  his  age.  The  dead  mu- 
sician, E.  A.  Weissenborn,  had  recently  come  to 

80 


BEGINNINGS  UNDER  HENSCHEL 

the  United  States,  from  Vienna,  full  of  pleasant 
anticipations.  Bernhard  Listemann,  first  violinist 
of  the  Orchestra,  conducted.  Mrs.  Henschel  sang 
alone,  and  she  and  Mr.  Henschel  gave  his  most 
popular  of  duets,  "  Oh,  that  we  tw^o  w^ere  may- 
ing."  As  it  has  frequently  done  in  later  years, 
the  Orchestra  gave  of  its  best  in  a  moment  of 
special  need. 

Later  in  this  season  the  programme  announced 
for  February  17  was  suddenly  changed  because 
of  the  death  of  Richard  Wagner  on  February 
13.  In  view  of  the  many  memorial  programmes 
given  since  then,  it  is  interesting  to  see,  from  the 
facsimile  on  page  83,  how  the  first  of  them  — 
except  for  a  Beethoven  anniversary  concert  of  the 
previous  winter  —  was  constructed. 

Both  the  appearance  of  the  hall  and  the  feel- 
ings of  the  still  unregenerate  with  regard  to 
Wagner  are  suggested  in  the  following  passage 
from  the  "Gazette":  — 

A  tribute  of  respect  to  the  dead  composer  crowded 
the  front  of  the  first  gallery,  and  consisted  of  some 
mourning  drapery  decorated  with  laurel,  and  a  portrait 
of  Wagner.  The  Orchestra  wore  black  instead  of  the 

81 


BEGINNINGS  UNDER  HENSCHEL 

customary  white  neckties.  The  programme  was  gloomy 
enough  in  all  conscience,  and  the  necessity  for  its 
performance  gave  one  more  cause  for  regret  at  the 
composer's  death.  The  whole  concert  was  an  elegiac 
nightmare.  We  doubt  if  ever  Music  Hall  echoed  to  a 
longer  stretch  of  cacophonous  dreariness  within  the 
same  length  of  time. 

Such  expressions  about  the  music  of  Wagner 
were  but  representative  of  the  feelings  of  many 
music-lovers,  whose  critical  faculties  had  received 
their  chief  stimulus  from  "  Dwight's  Journal  of 
Music."  By  no  means  the  least  part  of  Georg  Hen- 
schel's  service  to  the  musical  public  lay  in  his 
sympathetic  productions  of  what  was  then  the 
most  modern  music.  In  November  of  the  second 
season,  for  example,  he  gave  the  Vorspiel  of 
"Parsifal," a  month  after  its  first  American  pro- 
duction by  the  Philharmonic  Society  in  New 
York ;  and  that  the  audience  might  miss  none  of 
its  beauties  the  music  was  played  at  both  the  be- 
ginning and  the  end  of  the  concert  —  an  arrange- 
ment much  commended  at  the  time.  As  a  warm 
personal  friend  of  Brahms,  Mr.  Henschel  gave 
his  music  its  first  real  familiarity  to  the  local 
public.  The  Adagio  of  the  "Serenade  in  D  "  was 

82 


Boston  Music  Hall. 


BOSTON    SYMPHONY   ORCHESTRA. 

MR.    CEORC    HENSCHEL,    CONDUCTOR. 


SATURDAY,   FEBRUARY   17TH,  AT  8.  P.M. 

PROGRAMME. 


fV^  0  RICHARD   WAGNER.  ^  ^ 

1^^  BORN    MAY    22d,    1813.  ^^J 


PRELUDE.     (TrUtan.  185a ) 

LOItENORirrS  LEGEND  AND  FAREWELL  (Lohengrin,  1847.J 

SIEGFRIED-IDYLL.  (1871.1 

ELISABETH'S  GREETING 

TO  THE  HALL  OF  SONG.  (Tannhaeuser.  (1845.) 


INTRODUCTION. 

(The  Mastersingers  of  Nuremberg.  1867.) 
POGNER-S  ADDRESS. " 

PRELUDE.  (Parsifal.  1881.) 


SCENA  AND  ARIA.  (Oberon.)  WEBER. 

"The  stone  that  covers  thy  reinaing,  shall  b«come  the  rock  tn  the  desert, 
out  of  wliich  once  the  Almlehty  struck  the  fresh  spring.  From  it  shall  flow 
until  most  distant  times  a  glorious  stream  ot  ever  young  and  new  creating 
Jlfe.        IFrom  U'agntr'i  Funiral  Oraiio*  at  Wtbtr't  Graw.) 


DEATH  MARCH.  (Goetterdaemmerung.  1874) 


SOLOISTS  t 

MME.  GABRIELLA  BOEMA. 

MR.  CHAS.  R.  ADAMS. 

MR.  HENSOHEL. 


BOSTON  SYMPHONY  ORCHESTRA 

likened  by  one  critic  to  "  the  sapient  musings  of 
some  brilliant  idiot"  ;  and  the  writer  went  on  to 
say  :  "We  are  told  by  an  eminent  musician  of  the 
Orchestra  that  thirty  years  will  make  a  wondrous 
change  in  our  views  concerning  Brahms's  idiosyn- 
crasies. Let  us  not  run  so  unwelcome  a  risk.  Let 
us  die  in  peace,  with  none  of  the  abortive  transi- 
tion to  plague  our  life  away,  that  might  be  ex- 
pected by  some  of  the  so-called  future  school  of 
music."  William  F.  Apthorp,  looking  back  upon 
these  earlier  years  wrote:  — 

I  think  the  only  Boston  musician  who  was  really 
enthusiastic  over  the  Brahms  C  Minor  from  the  first 
was  B.  J.  Lang.  But  the  rest  of  us  followed  him  soon 
enough,  I  myself  bringing  up  in  the  rear,  after  six  years 
or  so.  It  took  considerably  longer  than  this,  though, 
for  Brahms  to  win  anything  like  a  firm  foothold  in 
Boston.  It  was  the  old  story  over  again.  Schumann 
had  to  fight  long  for  recognition  from  the  public;  Wag- 
ner did  anything  but  come,  see,  and  conquer.  Liszt 
and  Berlioz  frightened  almost  all  listeners  at  first.  And 
when  Brahms  came,  he  seemed  the  hardest  nut  to  crack 
of  all.  .  .  .  The  public  persistently  cried  for  new  things, 
and  turned  up  its  nose  when  it  got  them. 

The  education  which  Henschel  and  the  Or- 
chestra were  bringing  to  the  public  was  by  no 

84 


BEGINNINGS  UNDER  HENSCHEL 

means  confined  to  the  twenty-six  concerts  and 
rehearsals  of  the  second  season  in  the  Boston 
Music  Hall.  The  needs  of  Harvard  University, 
clearly  in  Mr.  Higginson's  thoughts  from  the 
very  inception  of  the  project,  were  met  by  six 
concerts  in  Sanders  Theatre  in  Cambridge.  There 
were  besides  three  concerts  each  in  Salem,  Provi- 
dence, and  Worcester ;  two  each  in  Portland, 
Lowell,  Fitchburg,  and  New  Bedford  ;  and  one 
each  in  Newport  and  Lynn,  —  a  total  of  fifty-one 
concerts  for  the  season.  The  deficit  was  consid- 
erably larger  than  at  the  end  of  the  first  season 
—  and  was  seldom  exceeded  afterwards,  yet  it  is 
an  interesting  fact  that  neither  from  the  manage- 
ment, which  understood  the  entire  situation,  nor 
from  the  public,  which  could  only  guess  at  it, 
were  there  from  this  time  forth  any  important 
expressions  of  the  doubt  that  the  Orchestra  had 
become  a  permanent  institution.  For  its  estab- 
lishment on  a  business  basis  as  firm  as  the  artistic, 
the  long-continued  services  of  Mr.  John  P.  Lyman 
as  volunteer  treasurer  of  the  organization  from  its 
origin  were  inestimable.  The  present  treasurer 
is  Mr.  F.  G.  Roby.  At  the  very  first,  the  actual 

8s 


BOSTON  SYMPHONY  ORCHESTRA 

management  of  the  concerts  was  in  the  hands  of 
the  officials  of  Music  Hall,  which  was  rented 
week  by  week.  Before  long  Mr.  Charles  A.  Ellis, 
employed  in  the  Calumet  and  Hecla  office,  was 
asked  and  consented  to  take  charge  of  the  out- 
of-town  concerts.  On  the  death  of  Mr.  A.  P. 
Peck,  manager  of  the  Music  Hall,  in  1885,  Mr. 
Ellis  took  his  place,  giving  up  his  position  in  the 
Calumet  office.  Since  that  time  he  has  managed 
all  the  affairs  of  the  Orchestra  —  a  task  of  great 
labor,  including  attention  to  contracts,  to  the 
whims  and  difficulties  of  musicians,  their  disci- 
pline when  not  in  concerts  and  rehearsals,  the 
business  of  travelling,  which  has  been  great,  and 
the  details  of  preparation  for  concerts  all  over 
the  country.  Any  record  of  the  organization 
which  omitted  a  full  acknowledgment  of  what 
it  owes  to  Mr.  Ellis  would  fall  far  short  of  com- 
pleteness. In  a  confidential  letter  to  Mr.  Hig- 
ginson  regarding  the  choice  of  a  new  conductor, 
a  certain  musician  under  consideration  for  the 
post  —  given  ultimately,  by  the  way,  to  another 
—  was  described  by  one  thoroughly  conversant 
with  the  ways  of  the  Orchestra  as  a  man  whom 

86 


BEGINNINGS  UNDER  HENSCHEL 

"  it  would  take  twenty  kind,  patient  Charley 
Ellises  to  manage."  In  this  fragment  of  sugges- 
tion much  of  the  story  is  told.  To  round  it  out 
an  account  of  the  business  organization  which  has 
grown  up  with  the  Orchestra  should  be  written. 
In  such  a  narrative  the  work  of  Frederic  R. 
Comee,  assistant  manager  for  many  years  before 
his  death  in  1 909,  and  of  his  successor,  Mr.  Wil- 
liam H.  Brennan,  who  now  holds  the  post,  would 
appear  as  bringing  important  elements  of  tact  and 
devotion  to  the  successful  management  of  the  en- 
terprise. Besides  the  treasurer,  the  manager,  and 
the  assistant  manager,  the  present  force  includes  a 
manager  of  Symphony  Hall,  Mr.  L.  H.  Mudgett, 
and  a  publicity  representative,  Mr.  W.  E.  Walter 
—  filling  out  a  staff  of  marked  efficiency. 

In  one  of  the  most  important  practical  matters 
in  the  early  business  of  the  Orchestra,  it  appears 
to  have  been  Mr.  Henschel  who  proposed  the 
solution  of  a  real  difficulty.  This  lay  in  the 
method  of  selling  the  seats  for  the  concerts.  It 
was  at  the  beginning  of  the  third  season  that  the 
plan,  pursued  ever  since,  of  disposing  of  a  large 
number  of  tickets   by  auction  was  introduced. 

87 


BOSTON  SYMPHONY  ORCHESTRA 

Thus  was  the  plan  made  known  to  the  public  in 
a  letter  from  Mr.  Higginson  ;  — 

To  THE  Editor  of  the  Transcript:  — 

The  arrangements  adopted  for  the  past  two  years  for 
the  sale  of  tickets  to  the  concerts  of  the  Boston  Sym- 
phony Orchestra  have  not,  apparently,  satisfied  the 
public  and  have  certainly  somewhat  disappointed  the 
managers.  I  have  wished  to  distribute  the  tickets  with 
the  least  inconvenience  to  buyers  and  to  keep  the  prices 
at  the  fixed  rates,  but  the  demand  for  tickets  being 
large,  it  has  not  been  possible  at  the  usual  office  sale  to 
prevent  a  long  line  of  buyers,  or  to  prevent  the  resell- 
ing of  some  tickets  at  an  advanced  price.  It  is  doubt- 
ful whether  any  plan  can  be  devised  which  will  remedy 
both  of  these  difficulties  so  long  as  the  present  demand 
for  tickets  continues,  but  it  has  been  decided  to  make 
trial  of  another  method  in  the  hope  that  the  public  may 
be  better  accommodated. 

The  prices  of  seats  will  remain  as  before,  but  a  por- 
tion of  the  seats  on  the  floor  of  the  hall  and  in  the  first 
balcony  will  be  disposed  of,  for  this  season,  at  auction. 
A  large  diagram  of  the  seats  will  be  put  before  the  bid- 
ders, who  will  thus  see  each  seat  marked  off  as  sold. 
The  seats  will  be  offered  in  regular  succession  accord- 
ing to  their  place  on  the  plan,  and  not  in  order  of 
superiority,  nor  will  the  right  to  select  be  offered.  From 
one  to  four  seats,  as  desired,  may  be  bought  on  one 
bid.  Bids  must  be  made  in  person  or  by  an  agent. 

No  effort  will  be  made  to  stimulate  prices,  but  on 
the  contrary  it  is  hoped  that  this  open  sale  of  seats  in 

88 


BEGINNINGS  UNDER  HENSCHEL 

regular  order  and  the  use  of  the  plan,  which  will  con- 
stantly show  how  large  the  supply  really  is,  may  have  the 
effect  of  quieting  competition.  A  small  number  of  seats 
will  be  reserved  for  the  directors,  the  press,  and  for  my 
own  use,  and  these  will  be  plainly  marked  upon  the 
plan.  The  seats  not  disposed  of  at  auction,  and  also 
all  the  seats  at  twenty-five  cents  and  all  the  rehearsal 
tickets,  will  be  sold  as  usual  at  the  ticket  office.  If  this 
plan  does  not  work  satisfactorily  some  other  will  be 
tried  next  year. 

Henry  L.  Higginson. 

It  is  obvious  enough  that  this  plan  was  devised 
with  the  best  interests  of  the  public  in  view. 
That  no  substitute  for  it  was  tried  in  the  follow- 
ing season,  and  that  it  has  now  stood  the  test  of 
more  than  thirty  years,  may  be  taken  as  an  indi- 
cation that  it  proved  reasonably  satisfactory.  Yet 
the  determined  objectors  who  form  a  part  of 
every  community  ascribed  all  manner  of  sordid 
motives  to  the  management.  One  of  the  mildest 
expressions  in  a  Boston  letter  to  a  Chicago  news- 
paper was  that  "the  hoi  polloi,  for  whom  Mr. 
Higginson  has  been  ostentatiously  posed  as  a 
patron,  will  have  to  put  up  with  the  leavings  — 
a  few  back  seats."  The  newspapers  made  much 
of  the  charge  that  the  best  tickets  were  reserved 

89 


BOSTON  SYMPHONY  ORCHESTRA 

for  the  special  friends  of  the  management,  and  in 
an  obscure  item  presented  the  fact  that  the 
highest  premium  for  a  seat  was  paid  by  Mr.  Hig- 
ginson's  father.  As  the  years  went  on,  the  hu- 
mors of  the  auction  sale  became  more  noticeable 
than  the  supposed  injustices.  In  spite  of  the 
brightly  visible  announcement  that  bids  are  the 
premiums  on  each  seat  to  be  added  to  the  regular 
price  of  it,  there  have  often  been  ladies  who  have 
failed  to  grasp  the  methods  of  the  auction-room. 
At  least  one  has  been  seen  to  start  the  bidding  for 
a  certain  seat  at  five  dollars,  raise  it  by  degrees  to 
ten,  and  then  sink  back  in  disgust  at  having  lost 
what  she  so  much  desired.  It  is  told  of  another 
concert-goer  that  one  year  he  wanted  four  seats 
together,  and,  having  missed  the  auction  sale, 
went  without  much  hope  to  the  box  office.  To 
his  surprise  he  was  there  offered  four  excellent 
seats,  and  found  the  explanation  of  his  good  for- 
tune in  the  fact  that  two  families,  formerly 
friends  but  no  longer  on  speaking  terms,  had  un- 
wittingly acquired  sittings  shoulder  to  shoulder, 
and  that  each  without  the  knowledge  of  the 
other  had  returned  its  tickets.  Though  extrava- 

90 


BEGINNINGS  UNDER  HENSCHEL 

gant  premiums — $ioo,  $150,  and  once,  for  a 
particular  end  seat  at  the  rehearsals,  $380,  and 
yet  again,  for  two  seats  at  the  evening  concerts, 
$560  each  —  have  been  paid  for  specially  desired 
tickets,  the  buyers  who  could  thus  afford  to  grat- 
ify their  whims  have  contributed  correspondingly 
to  meeting  the  cost  of  the  concerts,  and  there  has 
never  been  a  time  when  many  excellent  seats 
were  not  obtainable  at  a  premium  of  a  few  dollars. 
Never,  moreover,  from  the  very  first  has  it  been 
impossible  to  buy  seats  at  the  rehearsals  for 
twenty-five  cents  each.  They  are  now  sold  to 
those  who  are  willing  to  stand  in  a  line  with 
"quarters"  in  their  hands,  to  be  collected  at  the 
entrance  until  the  last  of  the  505  available  seats  is 
sold.  In  the  Friday  morning  hours  before  the  re- 
hearsals at  which  soloists  of  conspicuous  popu- 
larity are  to  appear,  the  waiting-line  of  devoted 
music-lovers  of  moderate  means  may  still  be  seen 
on  the  steps  of  Symphony  Hall  and  on  the  side- 
walks leading  to  its  doors,  just  as  in  the  period  of 
beginnings  a  similar  line  was  to  be  found  at  the 
approaches  of  Music  Hall. 

In  the  prices  of  season  tickets,  advances  have 

91 


BOSTON  SYMPHONY  ORCHESTRA 

been  made  from  time  to  time,  but,  it  might  read- 
ily be  shown,  these  have  been  far  less  rapid  in 
scale  and  amount  than  the  increase  in  the  cost 
of  the  concerts.  The  rate  at  which  season  tickets 
for  twenty  concerts  were  first  offered  at  $io  and 
$5,  according  to  position,  was  maintained  through 
the  second  year,  when  there  were  twenty-six  con- 
certs, and  the  third,  when  the  present  number  of 
twenty-four  was  adopted,  and  the  price  of  con- 
cert season  tickets  became  $i2  and  $6.  In  the 
first  and  second  years  there  were  no  reserved  or 
season  tickets  for  the  rehearsals,  single  tickets 
selling  at  twenty-five  cents.  In  the  third  year, 
when  the  auction  system  was  adopted,  season 
tickets  for  the  rehearsals  were  first  sold,  not  at 
auction,  the  price  being  $g.  All  the  seats  offered 
at  auction  and  not  sold  were  purchasable  then  and 
in  later  years  at  the  box  office  at  the  advertised 
prices.  In  the  fourth  season,  1884-85,  the  con- 
cert prices  were  $12  and  $7.50,  the  rehearsal 
prices  $10  and  $7.50,  but  all  the  $7.50  seats  were 
sold  at  the  box  office.  In  the  fifth  season  the 
prices  at  both  concerts  and  rehearsals  were  $  1 2 
and  $7.50,  and  only  the  $12  seats  were  offered  at 

92 


BEGINNINGS  UNDER  HENSCHEL 

auction.  This  arrangement  was  maintained  until 
the  tenth  year,  when  the  $12  and  $7.50  seats  at 
both  performances  were  offered  at  auction.  So  it 
went  on  until  the  twenty-sixth  season,  1906-07, 
the  first  under  Dr.  Muck,  when  the  present  prices 
of  $  1 8  and  $  i  o,  according  to  position,  were  first 
adopted.  It  should  be  added,  however,  that  this 
increase  was  made  in  order  to  expedite  the  auction 
sale,  for  the  bidding  by  this  time  generally  began 
at  a  corresponding  advance  upon  the  advertised 
prices. 

At  the  opening  of  the  third  season,  it  was  a 
matter  of  public  knowledge  that  George  Hen- 
schel  would  not  conduct  the  Orchestra  in  the 
following  year.  Though  his  friend  Brahms  had 
written  to  him  in  admiration  of  a  conductorship 
involving  no  supervision  by  a  committee,  and  had 
declared,  **  There 's  not  a  Kapellmeister  on  the 
whole  of  our  continent  who  would  not  envy  you 
that !  "  '  the  life  of  a  singer  in  Europe  held  out 
its  lure,  and  in  Boston  the  Orchestra,  brilliantly 
inaugurated,  was  ripe  for  the  progress  which 
might  now  be  furthered  by  a  new  and  different 

'   From  the  statement  by  Georg  Henschel. 

93 


BOSTON  SYMPHONY  ORCHESTRA 

hand.  If  the  critics,  formerly  so  hard  to  please, 
were  now  to  be  believed,  Mr.  Henschel  had 
greatly  improved  as  a  conductor.  The  complaint 
that  he  was  permitted  to  learn  his  trade  in  pub- 
lic was  followed  by  the  full  admission  that  he 
had  learned  it.  Mr.  Henschel  himself,  before 
the  year  ended,  was  credited  with  saying  to  an 
interviewer:  "My  stay  here  has  been  both  pleas- 
ant and  profitable,  my  experience  during  the  last 
three  years  being  invaluable.  A  German  con- 
ductor could  not  acquire  such  an  experience  in 
three  times  as  many  years." 

The  best  concerts  have  not  always  attracted 
the  largest  audiences;  and  so  it  was  that  during 
the  third  season  Mr.  Elson  wrote  —  after  the 
selection  of  Mr.  Henschel's  successor  was  an- 
nounced :  — 

I  believe  that  a  large  number  attended  the  symphony 
concerts  for  the  first  two  seasons  simply  because  they 
were  fashionable.  Now  the  force  of  the  fashionable 
commandment  —  Thou  shalt  not  miss  a  symphony 
concert  —  has  spent  itself,  and  the  audiences  are  smaller 
than  in  the  opening  seasons  of  the  enterprise,'  although 

*  This  was  true  of  the  evening  concerts  but  not  of  the  afternoon 
rehearsals.  At  the  twenty-four  concerts  of  the  third  season  the  average 
attendance  at  the  rehearsals  (2,423)  was  larger  than  in  either  of  the 

94 


BEGINNINGS  UNDER  HENSCHEL 

the  Orchestra  plays  better,  and  the  programmes  are 
more  interesting.  Poor  Mr.  Gericke  !  he  comes  from 
Vienna  just  in  time  to  take  charge  of  an  enterprise  in 
which  public  interest  is  waning,  and  lucky  Mr.  Hen- 
schel,  he  will  leave  it  in  a  manner  which  will  enable 
him  to  say  that  it  only  prospered  when  under  his  direc- 
tion. But  I  will  not  croak  out,  "  Ichabod,  the  glory  is 
departed,"  before  I  am  quite  sure  that  it  has  really  and 
entirely  left.  That  it  has  partially  gone  is  undoubted. 

In  spite  of  such  lamentations  there  were  plenty 
of  evidences  of  vitality  in  the  young  orchestra 
and  the  public  feeling  about  it.  The  telephone 
was  young  at  the  same  time,  and  some  one  had 
the  imagination  to  devise  a  scheme,  never  accom- 
plished, for  making  telephone  connections  be- 
tween Music  Hall  and  the  private  residences  of 
many  persons  who  might  like — before  the  Vic- 
trolian  age  —  to  enjoy  orchestral  music  at  home. 
Another  scheme,  for  establishing  a  large  perma- 
nent chorus  as  an  adjunct  to  the  Orchestra,  went 
somewhat  farther,  but  was  abandoned  out  of  con- 
sideration for  existing  societies  with  choral  sing- 
ing for  their  prime  purpose.  Already  a  project 
for  using  the  Orchestra  in  connection  with  opera 

previous  years,  and  the  total  average  (4,366)  showed  a  heahhy  in- 
crease. 

95 


BOSTON  SYMPHONY  ORCHESTRA 

in  Boston  had  found  its  way  into  the  public 
prints.  Meanwhile  the  audiences  were  making 
progress  in  their  musical  and  cognate  education. 
When  Schumann's  "Warum?"  appeared  on  a 
programme  of  the  third  season,  it  was  not  thought 
necessary,  as  in  the  first  year,  to  follow  the  title 
with  an  English  "Why?"  in  parenthesis.  The 
audiences,  moreover,  showed  signs  of  a  better 
training,  in  silent  attention  and  quiet  departure 
—  when  it  was  necessary  for  individuals  to  leave 
the  hall  before  the  concert  was  over.  This  im- 
provement was  forwarded  by  the  practice,  intro- 
duced during  the  third  season,  of  printing  on  the 
margin  of  the  programme  the  time  at  which  the 
final  number  would  end,  and  a  request  to  those 
who  must  leave  early  to  go  at  a  specified  point 
in  the  programme.  The  frequency  with  which 
9.30  and  9.35  appeared  as  the  hour  of  ending 
tells  of  the  rigor  with  which  the  original  plan  of 
short  concerts  was  carried  out. 

In  its  educational  function  the  Orchestra  was 
used  at  least  once  in  the  third  season  to  celebrate 
an  event  of  great  historic  importance  —  the  birth- 
day of  Martin  Luther.    On  the  four-hundredth 

96 


BEGINNINGS  UNDER  HENSCHEL 

anniversary  of  this  day,  November  i  o,  1883,  Bos- 
ton seemed  to  be  declaring  itself  still  a  Protestant 
city,  through  a  concert  for  which  the  programme 
was  made  with  special  reference  to  Luther.  His 
relation  with  the  art  of  music  was  emphasized  as 
strongly  as  might  be  by  the  playing  of  Mendels- 
sohn's "  Reformation  Symphony  "  and  Wagner's 
"  Kaisermarsch,"  in  which  the  first  lines  of  Lu- 
ther's hymn  are  introduced.  But  the  chief  event 
of  the  evening  was  the  singing  of  "  Ein'  Feste 
Burg,"  for  which  a  large  choir  of  boys  from  Bos- 
ton, Longwood,  Lynn,  and  Chelsea  churches  was 
brought  together.  The  audience  by  means  of  a 
special  programme,  on  which  a  portrait  of  Lu- 
ther and  an  English  translation  of  his  hymn  were 
printed,  was  invited  to  join  in  the  singing  — 
which  it  did,  with  some  departures  from  tune 
and  time,  but  probably  with  great  satisfaction  to 
itself. 

Later  in  the  year,  the  anniversary  of  the  death 
of  Wagner  (February  13,  1883)  was  celebrated 
at  the  concert  of  February  16,  1884,  by  the  in- 
troduction of  three  of  his  compositions  to  the 
programme.    The  valentine  which  Mr.  Elson  a 

97 


BOSTON  SYMPHONY  ORCHESTRA 

few  days  later  brought  forward  as  having  been 
received  by  Mr.  Henschel  preserves  a  passing 
point  of  view  regarding  the  programmes  of  the 
time:  — 

"  Oh,  Henschel,  cease  thy  higher  flight ! 
And  give  the  public  something  light ; 
Let  no  more  Wagner  themes  thy  bill  enhance 
And  give  the  native  workers  just  one  chance. 
Don't  give  the  Dvorak  symphony  again ; 
If  you  would  give  us  joy,  oh,  give  us  Paine ! 
And  if  as  leader  you  do  not  yet  shine, 
Your  singing  is  an  attribute  divine  — 
So  you  shall  ever  be  our  valentine." 

It  could  have  hardly  been  more  than  a  coinci- 
dence that  Paine's  "Spring  Symphony"  was  given 
March  i. 

Before  the  end  of  March  the  third  season  of 
the  Boston  Orchestra  came  to  an  end,  and  with 
it  Mr.  HenscheFs  conductorship.  A  critical  re- 
view of  his  work  in  the  "Transcript"  recited 
the  difficulties  and  the  advantages  with  which 
he  had  had  to  deal  —  his  own  lack  of  experi- 
ence, the  quality  of  the  local  band,  the  freedom 
from  hampering  influences,  financial  or  artistic 
—  and  gave  him  full  credit  for  what  he  had 
achieved :  — 

98 


BEGINNINGS  UNDER  HENSCHEL 

Indeed,  Mr.  Henschel  has  gone  on  steadily  improv- 
ing; his  opportunities  have  been  great,  it  is  true,  but 
he  has  shown  both  the  will  and  the  power  to  make  the 
most  of  them.  He  has  not  only  made  himself  a  thor- 
oughly capable  conductor,  but  has  left  the  Orchestra  in 
a  condition  which  any  musical  city  might  be  proud  of. 
.  .  .  All  thanks  to  him  for  it ! 

At  the  final  private  rehearsal  of  the  Orchestra, 
Mr.  Henschel  and  a  spokesman  for  his  men 
gave  expression  to  the  warm  personal  feeling 
that  had  grown  up  between  them.  The  audi- 
ence at  the  final  concert  uttered  its  own  hearty 
farewell.  Let  Mr.  Henschel  himself  describe  the 
occasion :  — 

I  shall  never  forget  that  last  symphony  concert  I 
conducted  in  1884.  It  was,  to  begin  with,  the  Manfred 
Overture.  I  had  just  made  the  last  touch  with  my  baton 
to  insure  silence  and  raised  it  for  the  first  sharp  chord 
of  the  overture,  when  to  my  utter  surprise  and  dismay 
—  the  whole  Orchestra  and  behind  me  the  whole  au- 
dience rose  to  their  feet  and  instead  of  hearing  the 
Manfred  Overture,  my  ears  bathed  in  a  flow  of  "  Auld 
Lang  Syne,"  sung  by  a  thousand  people. 

Private  and  semi-public  farewells  were  crowded 
into  the  short  remaining  time  of  Mr.  Henschel's 
residence  in  Boston.  When  he  left  America,  with 

99 


BOSTON  SYMPHONY  ORCHESTRA 

a  distinguished  musical  career  in  England  await- 
ing him,  the  new  Boston  Orchestra  stood  firmly 
on  its  feet  as  an  institution  well  fitted  fiar  that 
fuller  development  which  private  devotion  and 
public  response  stood  ready  to  accomplish. 


Ill 

THE   ESTABLISHING   UNDER   WILHELM   GERICKE 
1884-1889 

MR.  H.  T.  PARKER,  of  the  Boston  "Tran- 
script," once  described  the  respective 
stages  through  which  the  Orchestra  passed  under 
Mr.  Henschel,  Mr.  Gericke,  in  his  first  five  years, 
and  Messrs.  Nikisch  and  Paur,  as  the  primitive, 
the  expert,  and  the  romantic.  It  was  a  happy  and 
suggestive  characterization  — within  the  limits 
imposed  upon  all  such  attempts  to  compare  the 
sounds  of  the  past.  In  the  very  nature  of  the  case, 
the  art  of  music,  like  that  of  acting,  is  an  art  of 
the  moment;  and  it  is  almost  as  difficult  to  com- 
pare the  effectiveness  of  the  tones  created  by  a 
band  of  players  at  one  time  and  another  as  to 
measure  the  relative  merits  of  the  voices  of  dead 
actors,  or  the  relative  beauty  of  successive  waves 
as  they  break  upon  rocks  or  beach.  The  trans- 
iency, the  consciousness  of  a  supreme  moment, 
—  these  but  add  to  the  satisfaction  in  what  is 


lOI 


BOSTON  SYMPHONY  ORCHESTRA 

passing,  in  what  may  be  remembered  with  de- 
light but  never  enjoyed  in  its  fulness  again. 
Through  the  primitive  agency  such  moments 
come  as  special  gifts  from  heaven ;  through  the 
expert  — if  the  spontaneous  power  of  the  primi- 
tive be  not  annulled  by  too  studious  an  expertness 

—  they  come  more  surely,  more  often,  more  def- 
initely "  on  demand." 

The  bringing  of  the  Boston  Symphony  Or- 
chestra to  the  point  of  expertness  at  which 
its  best  —  and  that  a  better  thing  than  before 

—  might  more  regularly  be  expected  of  it  was, 
in  a  marked  degree,  the  work  of  its  second 
conductor. 

Both  in  Mr.  Higginson's  "  Account "  of  the 
Orchestra,  from  which  passages  have  already  been 
drawn,  and  in  a  paper  which  Mr.  Gericke  has 
been  kind  enough  to  prepare  for  the  advantage 
of  this  narrative,  the  story  of  his  engagement  as 
conductor  of  the  work  to  which  he  gave  him- 
self is  told.  In  spite  of  some  inevitable  repetition, 
both  of  these  sources  may  well  be  laid  under  con- 
tribution for  the  present  purposes.  It  has  been 
seen  already  that  through  a  large  portion  of  the 

102 


ESTABLISHING  UNDER  GERICKE 

final  year  of  Mr.  Henschel's  term  of  service  Mr. 
Higginson  was  in  Europe.  With  the  knowledge 
that  a  new  conductor  would  be  needed  for  the 
fourth  season,  there  was  every  reason  why  he 
should  turn  his  steps  towards  Vienna,  the  scene 
of  his  early  musical  interests.  Thus  he  tells  of 
his  experience  there,  and  of  its  immediate  re- 
sults :  — 

Having  friends  in  Vienna,  I  naturally  went  there  and 
talked  with  them  and  with  various  musicians,  —  among 
others  Julius  Epstein  and  Hans  Richter,  who  then  was 
at  the  top.  On  the  first  evening  of  my  stay  in  Vienna 
I  went  to  the  opera  and  heard  "A'lda."  I  noticed  a 
conductor  with  black  hair,  whose  method  of  conducting 
pleased  me  much,  for  his  interest  and  care  in  his  work 
was  striking.  I  asked  my  old  friend,  Julius  Epstein, 
who  he  was,  and  he  said :  "  That  is  Gericke."  Hans 
Richter  was  too  well  placed  as  a  man  at  the  head  of  the 
Opera  and  of  the  Imperial  Chapel  to  leave  Vienna,  and 
so  I  asked  Epstein  if  Gericke  would  come.  He  laughed 
at  the  idea.  I  said  to  him,  "  Will  you  ask  him  ? "  and 
he  said,  "Yes,  I  will  do  anything  for  you,  but  he  will 
not  come."  He  marched  off  to  Gericke's  rooms,  and  in 
half  an  hour  came  back  and  said  :  "  He  will  go  with 
you,  and  would  like  to  talk  with  you  to-morrow  morn- 
ing." (Epstein  had  told  me  that  Gericke  was  an  excel- 
lent, experienced  musician  and  artist,  and  thoroughly 
conscientious.)  So  the  conversations  with  Mr.  Gericke 

103 


BOSTON  SYMPHONY  ORCHESTRA 

began  and  ended  in  a  contract  carefully  drawn  by  a 
legal  friend  in  Vienna.  Everybody  spoke  in  the  highest 
terms  of  him,  but,  owing  to  some  disagreements  such 
as  constantly  arise  in  an  opera  house,  I  think  that  he 
was  glad  to  leave  Vienna  at  that  time.  At  any  rate,  he 
came,  took  up  his  work  here,  and  did  his  best,  but  after 
two  concerts  he  said  to  me:  "  You  have  not  an  orches- 
tra here.  There  are  some  musicians,  but  it  is  hardly  an 
orchestra."  Nevertheless,  he  worked  with  them  during 
that  season,  and  produced  pretty  good  results.  At  the 
end  of  that  time  he  went  back  to  Vienna,  engaged  an 
excellent  concert-master  (Franz  Kneisel)  and  a  large 
number  of  good  musicians,  and  brought  them  here. 
With  a  certain  number  already  in  Boston  and  in  New 
York,  he  began  his  second  year,  and  worked  hard  to 
form  an  orchestra.  The  concert-master  and,  indeed,  the 
first  desks  of  the  first  violins  were  excellent,  and  all  the 
instruments  were  improved,  but  still  there  was  much 
room  for  further  improvement.  Before  the  end  of  the 
winter  we  had  a  fair  orchestra.  Again,  people  would 
ask  if  it  was  not  splendid,  and  got  the  same  reply, 
"  Not  yet." 

In  this  second  year  Gericke's  work  went  on,  and, 
with  small  troubles  of  a  man  now  and  then  being  in- 
subordinate or  failing  to  satisfy  Gericke,  the  work  pro- 
ceeded fairly.  But  about  the  middle  of  the  year  Gericke 
became  much  discouraged,  said  that  he  could  conduct 
no  longer,  and  asked  me  to  release  him.  However,  he 
got  over  that  mood,  and  went  on  faithfully  with  his 
work.  He  had  unusual  talent  for  forming  and  develop- 
ing an  orchestra.  He  was  a  thorough  musician,  with  a 

104 


ESTABLISHING  UNDER  GERICKE 

fine  sense  for  sound  and  careful  execution,  a  refined 
taste,  and  entire  command  over  his  men.  (When  I  asked 
my  friend  Epstein  in  Vienna  about  him,  he  said  all 
these  things,  and  added:  "He  is  conscientious  and 
faithful  in  the  highest  degree";  and  he  proved  so  from 
the  beginning  to  the  end.)  He  took  no  end  of  pains, 
especially  with  the  violins,  kept  the  brasses  down,  and 
encouraged  the  good  wood-wind.  There  was  no  limit 
to  his  patience,  and  no  limit  to  the  pains  which  he 
took;  and  he  taught  those  first  violins  to  sing  as  violins 
sing  in  Vienna  alone.  It  was  he  who  gave  to  the  Or- 
chestra its  excellent  habits  and  ideals. 

I  think  that  it  was  in  the  third  year  that  Gericke 
asked  to  go  to  New  York.  A  day  in  December  was 
appointed,  and  the  concert  was  advertised,  the  hall  en- 
gaged, etc.  A  week  or  so  before,  he  came  and  said  to 
me:  "I  am  not  ready  to  go  to  New  York."  "  What  is 
the  matter?"  said  I.  He  said:  "The  Orchestra  is  not 
playing  sufficiently  well  for  me  to  appear  before  that 
public,  which  is  not  so  friendly  as  ours."  "Very  well," 
said  I,  "  the  arrangements  have  been  made.  It  will  cost 
me  a  pretty  penny,  but  if  you  are  sure,  I  will  pay  it." 
He  said,  "I  am  sure";  and,  therefore,  the  concert  was 
put  off. 

Gericke  never  failed  to  struggle  for  what  he  considered 
the  need  of  the  evening.  By  and  by  he  wished  to  go  to 
the  West,  and  preparations  were  made  for  such  a  jour- 
ney. He  went,  played  in  many  places  with  good  re- 
sults, and  came  back  having  lost  a  great  deal  of  money. 
The  deficit  that  year  was  $50,000.  He  was  sorry,  but 
could  not  help  it.  The  next  year,  if  I  remember  aright, 

105 


BOSTON  SYMPHONY  ORCHESTRA 

the  results  were  about  the  same ;  at  any  rate,  one  year  the 
deficit  went  to  ^52,000,  and  it  never  passed  that  point.' 
All  this  time,  Gericke  each  summer  made  his  pro- 
grammes with  great  care,  sought  new  music,  and 
brought  it  here,  sought  new  men  and  brought  them 
here.  He  had  some  fine  wood-wind  men  and  some  ex- 
cellent brass  men,  and  when  he  went  away,  everybody 
was  filled  with  regret.  His  contract  had  been  made  for 
five  years,  and  at  the  end  of  that  time  he  had  a  trouble 
with  his  throat,  and,  to  our  great  regret,  left  the  town. 
Everything  had  gone  smoothly,  and  everybody  was 
very  sorry  to  lose  him. 

Mr.  Gericke's  account  of  his  relations  with 
the  Orchestra  is  introduced  by  his  accurate  recol- 
lections of  talks  with  Mr.  Higginson  about  his 
youthful  desires  for  music  in  America  and  the 
first  steps  towards  their  fulfilment.  As  this  ground 
has  already  been  sufficiently  covered,  it  is  best  to 
turn  at  once  to  Mr.  Gericke's  story  of  some  of 
the  circumstances  just  presented  in  the  words  of 
Mr.  Higginson:  — 

In  the  autumn  of  1883,  Mr.  Higginson  came  again 
to  Vienna,  and  during  that  time  I  made  his  acquaint- 
ance. At  that  time   I  held  two  positions  in  Vienna; 

'  It  ought  to  be  recorded  that  deficits,  varying  in  amount,  have  had 
to  be  met  every  year.  Exact  figures  of  their  aggregate  are  not  available, 
but  it  has  been  at  least  ^900,000. 

106 


ESTABLISHING  UNDER  GERICKE 

one,  as  a  Conductor  of  the  Oratorio  Concerts,  given  by 
the  Society  of  Music' 

One  day,  Mr.  Higginson  came  to  his  old  friend  and 
former  teacher,  Professor  Epstein,  and  asked  him  the 
name  of  that  Kapellmeister  he  saw  the  other  evening  at 
the  Opera  conducting  "  Aida  "  and  said  :  "  I  want  to  have 
him  for  Boston  !  "  Professor  Epstein,  quite  astonished, 
answered,  "Impossible!  Gericke  would  never  leave 
Vienna!"  Mr.  Higginson  said,  "Why  not?  Go  and 
ask  him  ! "  So  the  next  day  Professor  Epstein  came 
to  me  with  this  message.  Chance  certainly  worked  for 
Mr.  Higginson's  purpose  at  this  time. 

Both  my  positions  in  Vienna  had  given  me  the  great- 
est satisfaction,  especially  as,  in  opera  and  in  concerts, 
I  was  very  successful.  I  never  would  have  dreamed  of 
leaving  them  and  going  away  from  Vienna,  if  not  just 
at  this  time  some  dispositions  of  the  Director  of  the 
Opera — Wilhelm  Jahn  —  had  made  me  feel  pretty 
angry  and  disappointed.  It  was  some  question  of  reper- 
toire—  a  small  matter  in  itself;  but,  when  Mr.  Hig- 
ginson's offer  came,  it  certainly  helped  me  to  consider 
it  favorably,  and  it  took  not  very  long  before  I  decided 
to  accept  it. 

In  September,  1884,  I  went  across  the  ocean  to  be- 
gin my  new  position  as  a  Conductor  of  the  Boston  Sym- 
phony Orchestra.  It  would  be  untruthful  to  say  that 
my  beginning  there  was  an  easy  one;  for  everything 
that  Mr.  Higginson  felt  years  ago  as  an  amateur  about 
the  difference  of  orchestras  and  artistic  conditions,  I 

1  The  second  position  was  that  of  one  of  the  staff  of  conductors  at 
the  Opera  House  of  Vienna. 

107 


BOSTON  SYMPHONY  ORCHESTRA 

felt  ever  so  much  more  as  a  professional,  and  especially 
after  having  conducted  the  admirable  orchestra  of  the 
Vienna  Court  Opera  for  ten  years.  During  the  first 
days  in  Boston,  I  got  most  disagreeably  homesick. 
When  I  arrived,  the  room  that  had  been  engaged  for 
me  proved  only  large  enough  for  a  bed,  a  chair,  and  a 
table.  No  place  for  a  piano  or  anything  which  might 
make  it  comfortable.  Not  used  to  such  wholesome  but 
somewhat  Spartan  simplicity,  I  wished  for  better  accom- 
modation; but,  as  my  English  was  so  very  poor,  it  was 
thought  unwise  to  take  me  to  a  hotel.  I  was  brought 
into  a  private  family,  but,  also  there,  nobody  spoke  any 
German.  My  room  looked  into  a  yard,  I  had  nobody 
to  speak  to,  and,  though  they  kindly  tried  to  make  it 
comfortable  for  me,  I  felt  very  much  like  a  prisoner  in 
Siberia.  After  a  few  days,  however,  I  was  taken  to  the 
Tavern  Club,  which  at  this  time  was  just  founded  by 
a  number  of  young  gentlemen  —  all  nice  and  charming 
fellows.  There  I  found  kindred  spirits  and  some  good 
and  stanch  friends,  who  did  their  best  to  help  me  over 
my  first  difficulties. 

In  my  new  work,  all  sorts  of  troubles  were  going  on 
during  the  first  season.  The  members  of  the  Orchestra 
were  not  accustomed  to  my  way  of  rehearsing,  the 
audience  did  not  like  my  programmes.  Constant  com- 
plaints were  made  about  their  being  too  heavy.  My 
predecessor  had  always  given  some  light  music  in  the 
second  part  of  every  concert  and  the  audience  was  used 
to  this  and  liked  it.  But,  as  Mr.  Higginson  wanted  to 
bring  the  concerts  to  a  higher  standard,  and  as  the 
name  of  the  Orchestra  was  "The  Boston  Symphony 

io8 


ESTABLISHING  UNDER  GERICKE 

Orchestra,"  I  did  not  see  the  reason  why  the  programme 
should  not  be  put  throughout  on  a  classical  basis  and 
have  the  character  of  a  real  Symphony  Concert.  Mr. 
Higginson  may  have  had  a  very  hard  time  to  defend 
my  ideas  against  the  many  complaints  and  criticisms 
made  to  him  about  me;  but  in  all  that  time,  he  stood 
most  loyally  by  my  side. 

The  public  of  Boston  —  to-day  one  of  the  most  cul- 
tivated and  best  understanding  musical  publics  I  know 
—  will  be  surprised  to  hear  that  in  those  days — dur- 
ing the  first  performance  of  Brahms's  No.  3  —  the  audi- 
ence left  the  hall  in  hundreds,  and,  still  more  at  the  first 
performance  of  Anton  Bruckner's  Symphony  No.  7 
(1887) ;  so  that  during  the  last  movement  we  were  more 
people  on  the  stage  than  in  the  audience.  The  same 
thing  happened  at  the  first  performance  of  Richard 
Strauss's  Symphony  "In  Italy"  (1888). 

In  the  first  year,  the  season  lasted  only  six  months, 
and  when  those  were  over,  the  members  of  the  Orches- 
tra disbanded  and  mostly  went  away  from  Boston. 
Consequently,  the  management  was  obliged  to  look  out 
every  year  for  new  musicians  for  the  coming  season. 
Mr.  Higginson  very  justly  felt  that,  under  those  cir- 
cumstances, with  permanent  changes,  he  could  never 
get  what  he  wanted  :  a  first-class  orchestra.  And  during 
my  first  season,  he  asked  me  what  could  be  done  to 
avoid  these  changes  among  the  members.  I  proposed 
to  try  a  longer  season  by  visiting  other  cities,  making 
short  tournees  during  the  season  and  a  longer  one  at  the 
end.  Mr.  Higginson  recognized  that  in  this  way,  the 
engagement  of  the  Orchestra  could   be  drawn  out  to 

109 


BOSTON  SYMPHONY  ORCHESTRA 

eight  or  nine  months,  and  that  in  this  way,  contracts 
for  a  number  of  years  could  be  offered  to  the  members. 
At  the  same  time,  the  idea  of  giving  Popular  Concerts 
in  the  beginning  of  the  summer  was  started  and  gave 
another  opportunity  for  prolonged  occupation  for  the 
members,  and  a  new  attraction  for  the  Bostonians.  Mr. 
Higginson  was  quite  ready  to  try  a  tournee  at  the  end 
of  my  second  season.  But,  before  we  got  so  far,  an- 
other trouble  had  to  be  faced.  In  that  time,  a  number 
of  old  and  overworked  musicians  were  in  the  Orches- 
tra, no  longer  fit  for  the  demands  of  modern  and  more 
difficult  orchestral  playing.  Mr.  Higginson  thought 
they  should  be  replaced  by  younger  elements  and,  when 
I  went  to  Europe,  after  my  first  season  was  over,  he 
gave  me  the  order  to  import  twenty  new  musicians  — 
among  them  a  new  Concert-master.  This,  by  the  way, 
was  Mr.  Franz  Kneisel.  All  the  new  musicians,  among 
which  were  Mr.  Svecenski,  Mr.  Fiedler,  Mr.  Zach, 
Mr.  Moldauer,  and  many  others  (Mr.  Roth  came  only 
a  year  later)  were  very  young  men ;  and  the  Concert- 
master  one  of  the  youngest ;  so  young,  that  he  did  not 
even  know  how  to  smoke.  On  our  trip  over,  I  felt  it 
my  duty  to  teach  him  this  art,  in  which  he  has  certainly 
been  past-master  ever  since. 

When  the  second  season  with  the  new  members 
began,  I  had  hoped  the  fresh  element  would  make  my 
work  easier,  and  heighten  our  success ;  but  I  was  mis- 
taken. I  soon  felt  that  all  the  twenty  dismissed  mem- 
bers, with  their  families,  were  like  millstones  round  my 
neck.  The  remaining  old  members  took  the  part  of  the 
dismissed  ones,  opposed  me  where  they  could,  and  put 

I  lo 


ESTABLISHING  UNDER  GERICKE 

themselves  into  direct  opposition  ;  a  great  part  of  the 
audience,  even  some  of  the  critics,  were  influenced  for 
the  same  reason.  I  was  not  popular  in  the  Orchestra, 
especially  as  they  did  not  yet  understand  why  I  should 
ask  for  better  playing  and  more  exact  work  than  had 
been  done  heretofore.  Before  I  came  to  Boston,  the 
members  of  the  Orchestra  had  been  used  to  a  great 
deal  of  freedom  ;  for  instance,  members  living  out  of 
town  were  allowed  to  leave  the  rehearsal  at  twelve  in 
order  to  be  home  for  lunch ;  or,  to  reach  a  train  for  an- 
other out-of-town  engagement  of  their  own  —  whether 
the  rehearsal  was  finished  or  not.  It  was  not  easy  to 
make  them  understand  that  their  engagement  for  the 
Boston  Symphony  Concerts  had  to  be  considered  first 
and  foremost,  and  that  the  rehearsal  had  to  be  finished 
before  everything  else.  It  took  Mr.  Higginson's  whole 
energy  to  make  them  understand  that  they  had  to  con- 
sider me  in  this  way  and  rehearse  and  play  as  satisfac- 
torily as  I  thought  it  necessary. 

The  end  of  the  second  season,  however,  brought  a 
great  change.  We  made  our  first  tournee  to  different 
cities,  and  at  this  time  in  Philadelphia  the  Orchestra 
earned  there  its  first  real  success.  The  musicians  began 
to  understand  what  the  hard  work  and  earnest  study 
had  meant,  and  what  results  were  reached  by  it ;  it 
opened  their  eyes  and  gave  them  a  feeling  of  pride  and 
satisfaction  with  themselves. 

It  is  not  necessary  to  mention  that  the  expenses 
during  the  first  tournees  were  extremely  great  ones. 
Though  Mr.  Theodore  Thomas  used  to  travel  to  dif- 
ferent cities  with   his  Orchestra  and  give  Symphony 

1 1 1 


BOSTON  SYMPHONY  ORCHESTRA 

Concerts,  on  the  whole,  the  audiences  of  most  of  the 
towns,  New  York  and  Boston  excepted,  interested  in 
that  kind  of  orchestral  music  were  as  yet  very  small.  I 
am  sure  had  the  creator  of  the  Boston  Symphony  Or- 
chestra been  another  man  than  Henry  L.  Higginson, 
the  Orchestra  would  not  have  reached  the  age  of  ten 
years.  But  Mr.  Higginson  clung  to  his  ideal  purpose 
of  forming  an  orchestra  of  the  very  first  rank,  with  a 
tenacity  unequalled  and  he  was  willing  to  undergo  any 
amount  of  trouble  and  sacrifice  any  amount  of  money 
on  that  account. 

After  the  first  great  success  in  Philadelphia,  Mr. 
William  Steinway  asked  us  to  come  to  New  York  in 
the  beginning  of  my  third  season  and  make  our  first 
appearance  there  at  a  celebration  in  old  Steinway  Hall. 
But,  as  the  Orchestra  was  still  young,  and,  as  in  that 
time  every  beginning  season  brought  some  changes, 
especially  in  the  wood-winds,  I  did  not  dare  to  go  to 
New  York  before  the  Orchestra  was  in  really  good 
shape,  and,  therefore,  we  did  not  accept  Mr.  Steinway's 
invitation.  Of  course,  he  was  very  angry  with  me,  but 
when  we  came  six  months  later  to  New  York,  he  saw 
himself  that  I  had  been  right. 

The  first  appearance  of  the  Boston  Symphony  Or- 
chestra in  Steinway  Hall  was  a  great  surprise  to  every- 
body. New  Yorkers  did  not  expect  to  hear  such  good 
orchestra-playing  from  the  Bostonians,  and  the  Bosto- 
nians  did  not  expect  to  get  such  success  in  New  York. 
For  me,  this  first  success  there  was  a  great  joy  and  most 
flattering,  for,  in  those  days,  all  New  York  music- 
lovers  were  great  admirers  of  Theodore  Thomas  and 

112 


ESTABLISHING  UNDER  GERICKE 

the  New  York  Philharmonic  Orchestra,  who  had  every 
reason  to  be  thus  admired.  So  the  standard  in  New 
York  was  a  high  one,  and  this  made  us  feel  all  the  hap- 
pier. Since  then,  the  Boston  Symphony  Orchestra  ap- 
pears every  season  in  New  York,  and  is  their  perma- 
nent guest.  There  is  no  doubt  that  this  first  success  in 
New  York  affected  greatly  the  Boston  audience ;  from 
that  moment,  the  Boston  Symphony  Orchestra  began 
to  stand  on  solid  ground.  The  members  of  the  Orches- 
tra began  to  feel  that  they  belonged  to  an  artistic  cor- 
poration of  first  rank,  —  and  in  the  same  measure  as 
the  success  increased,  they  took  more  pride  and  satis- 
faction in  their  work. 

In  1889,  I  left  Boston,  —  thoroughly  overworked. 
I  went  back  to  Vienna  for  an  entire  rest.   .  .  . 

I  cannot  remember  in  what  year  it  was  that  Mr.  Hig- 
ginson  once  complained  to  me  about  the  great  expenses 
that  the  Boston  Symphony  Orchestra  caused  him  year  for 
year,  and  that  he  sometimes  feared  he  would  be  obliged 
to  give  it  all  up.  I  begged  him  not  to  be  discouraged 
and  to  give  us  more  time,  —  that  the  Orchestra  would 
soon  gain  ground  in  New  York  and  everywhere  else, 
and  that  the  heightened  success  would  diminish  the 
yearly  losses  considerably.  Fortunately,  I  was  right. 
Mr.  Higginson  has  the  satisfaction  to  see  his  Orchestra 
recognized  everywhere  as  one  of  the  very  finest  existing, 
admired  by  everybody,  musician  or  no  musician,  and  he 
has  had  the  joy  —  given  to  so  few  men  —  to  see  the 
dream  of  his  youth  fulfilled  and  to  hear  in  his  native 
city  musical  performances  as  excellent  as  those  he  heard 
in  Vienna  years  ago.  Without  his  ideal  purpose,  without 

"3 


BOSTON  SYMPHONY  ORCHESTRA 

his  stiff  neck,  his  determination  to  go  through  all 
the  difficulties,  all  the  many  troubles  caused  by  mem- 
bers, critics,  audiences,  —  and  sometimes  even  conduc- 
tors,—  without  his  munificence,  it  would  never  have 
been  possible  to  erect  such  a  fine  musical  corporation 
as  the  one  Boston  can  now  call  its  own. 

To  these  two  versions  of  the  story  of  Mr. 
Gericke's  first  connection  with  the  Orchestra 
much  may  be  added  —  both  in  further  detail  re- 
garding certain  points  here  touched  upon,  and 
through  other  items  going  to  complete  the  story. 
Of  all  these  matters  the  contemporary  local  press 
preserves  enough  and  to  spare. 

Mr.  Gericke,  born  in  Schwanberg,  Styria,  April 
18,1845,  was  not  forty  years  old  when  he  came  to 
Boston.  His  training  had  been  of  the  most  exact; 
his  temperament  led  him  to  demand  of  his  men 
the  attention  to  technique,  the  mastery  of  finesse, 
which  were  precisely  what  they  had  hitherto  most 
conspicuously  lacked.  These  excellences  were  to 
be  acquired  only  by  the  hard  work,  the  persistent 
drilling  which  he  was  ready  to  give  the  Orchestra, 
and  the  players  soon  found  they  must  accept.  His 
remark  to  Mr.  Higginson  after  the  second  con- 
cert he  conducted,  "  There  are  some  musicians, 

114 


THREE   CONDUCTORS 


WILHEI.M    r.ERICKE,  I884-IS89,  1898-I906 
ARTHIR    NIKISCH,  I889-1895  C.EORG    HENSCHF.L,  I881-1884 


ESTABLISHING  UNDER  GERICKE 

but  it  is  hardly  an  orchestra,"  recalls  the  phrase 
ascribed  by  William  F.  Apthorp  to  a  distinguished 
European  violinist,  who  called  the  Boston  Or- 
chestra of  a  still  earlier  time,  ^^  une  agregation 
fortuite  d' elhnents  heterogenes.*'  In  rendering  the 
Orchestra  both  homogeneous  and  expert,  Mr. 
Gericke  fully  earned  the  encomiums  often  be- 
stowed upon  him  by  Mr.  Higginson  and  by 
others  less  directly  interested:  "Gericke  made 
our  Orchestra." 

If  he  found  the  players  inadequate  to  his  pur- 
poses, it  does  not  appear  that  this  inadequacy 
extended  to  the  music  with  which  the  Boston 
public  had  already  been  made  familiar. 

The  following  anecdote  is  related  by  Mr. 
Apthorp : ' 

Shortly  after  Mr.  Gericke's  arrival  in  Boston,  B.  J. 
Lang  asked  him  if  he  would  not  be  interested  to  see 
the  programmes  of  past  symphony  concerts  in  our  city  ; 
to  which  he  replied  he  had  already  seen  them  all, 
and  had  studied  them  carefully.  "All  "  sounded  rather 
startling ;  so  Lang  asked  him  how  many  seasons  of 
programmes  he  had  seen.  "  Oh,  there  have  been  only 
three,"  answered  Mr.  Gericke.  "Ah,  I  see,"  said  Lang, 
"you  mean  the  programmes  of  the  Boston  Symphony 
'  Boston  Evening  Transcript,  September  30,  191 1. 


BOSTON  SYMPHONY  ORCHESTRA 

Orchestra ;  but  would  n't  you  like  to  see  the  pro- 
grammes for  the  seventeen  years  of  concerts  given  by 
the  Harvard  Musical  Association,  before  the  Symphony 
Orchestra  existed?  "  Mr.  Gericke's  eyes  opened  wide  at 
this,  and  he  eagerly  accepted  the  offer.  So  Lang  gave 
him  the  two  bound  volumes  of  programmes,  which  he 
returned  in  a  few  days,  saying, "  I  am  completely  dumb- 
founded! I  do  not  see  what  is  left  for  me  to  do  here. 
You  seem  to  have  had  everything  already  ;  more,  much 
more,  than  we  ever  had  in  Vienna !" 

Evidently  the  shortcomings  were  rather  of  qual- 
ity than  of  quantity.  In  a  merely  physical  sense, 
Mr.  Gericke  found  himself  at  the  first  in  a  posi- 
tion of  advantage  over  any  previous  conductor  in 
Music  Hall  since  the  installation  of  the  Great 
Organ  in  1863.  That  glory  of  the  older  musical 
Boston  —  making  way  in  one  particular  after  an- 
other for  the  newer  —  had  been  removed  during 
the  summer  between  the  last  concert  under  Mr. 
Henschel  and  the  first  under  Mr.  Gericke.  There 
were  lamentations  from  many  representatives  of 
the  old  order  when  the  purpose  to  part  with  the 
unwieldy  instrument  became  known ;  but  the 
truth  was  probably  spoken  by  the  "Transcript" 
when  it  said :  "  Likely  enough  that  imposing  ar- 
ray of  pipes  absorbed  a  good  deal  more  fine  music 

116 


ESTABLISHING  UNDER  GERICKE 

than  it  ever  gave  out  during  its  long  existence. 
Now  an  orchestra  in  the  Music  Hall  really  sounds 
like  an  orchestra,  and  not  like  a  weak  apology  for 
one." 

From  the  "Transcript"  also  may  be  taken  a 
few  sentences  in  the  notice  of  Mr.  Gericke's  first 
concert,  for  they  fairly  represent  the  attitude  of 
the  critical  fraternity,  much  more  at  one  with 
regard  to  the  second  conductor  than  to  the 
first :  — 

And  now  for  Mr.  Gericke!  His  reception  by  the  large 
audience  was  as  cordial  as  possible,  and,  as  each  suc- 
cessive number  on  the  programme  was  finished,  long 
and  hearty  applause  burst  forth  afi-esh  with  unmistak- 
able vigor.  Mr.  Gericke  has,  in  a  word,  made  a  very 
palpable  hit  at  the  first  dash.  His  manner  at  the  con- 
ductor's desk  is  admirable:  dignified,  self-contained, free 
from  all  over-dramatic  demonstrativeness,  yet  suffi- 
ciently animated  to  indicate  the  enthusiasm  with  which 
he  burns.  He  is  by  no  means  one  of  those  conductors 
who, by  their  outward  impassiveness,  stand  as  an  insulator 
between  the  orchestra  and  the  hearts  of  the  audience. 
Then,  again,  everything  one  sees  him  do  with  the  baton 
is  immediately  appreciated  by  the  ear,  as  the  Orchestra 
responds  to  his  nervous  beat.  Every  stroke  tells,  and 
one's  musical  enthusiasm  is  not  damped  by  an  un- 
pleasant sense  of  effort.  He  seems  to  make  the  Or- 
chestra do  just  what  he  pleases.  We  say  seems ^  for  it  is 


BOSTON  SYMPHONY  ORCHESTRA 

idle  to  try  to  judge  a  man  finally  after  but  one  con- 
cert. One  can  only  speak  from  first  impressions,  and 
these  impressions  are,  in  the  present  case,  wholly  and 
strongly  favorable. 

The  critics  this  time  were  not  at  variance  with 
the  general  public,  which  showed  its  interest  in 
the  concerts  not  only  by  increased  and  enthusias- 
tic attendance,  but  by  taking  pains  to  prepare  it- 
self for  what  it  should  hear.  During  the  fourth 
season  Mr.  Lang  and  Mr.  Chadwick  were  giving 
lectures  on  the  structure  of  Beethoven's  sympho- 
nies as  they  were  played ;  and  Professor  Paine 
was  delivering  a  series  of  musical  lectures  on  em- 
inent composers  from  those  of  the  earliest  classical 
periods  to  Wagner.  There  were  occasions  when 
the  audiences  expressed  their  delight  with  un- 
precedented vigor.  When  the  Orchestra  first 
played  the  melody  now  thrice  familiar  as  Han- 
del's "  Largo,"  but  then  known  only  to  a  few  as 
an  air  from  the  composer's  opera  of  "Xerxes," 
—  one,  be  it  said,  of  forty,  —  the  effect,  de- 
clared the  "Advertiser,"  "was  as  fine  as  it  was 
unique,  and  we  have  never  before  seen  a  sym- 
phony audience  roused  to  such  general  enthusiasm 

ii8 


ESTABLISHING  UNDER  GERICKE 

and  to  such  determination  to  have  a  repetition." 
In  time  the  public  learned  that  a  Vienna  musi- 
cian, Helmesberger,  had  arranged  the  air  for  or- 
chestral production.  What  they  heard  was  the 
melody  "  first  played  by  Mr.  Listemann  with  harp 
accompaniment,  and  then  repeated  in  unison  by 
seventeen  violins  ranged  in  line  across  the  stage, 
the  harp  being  reenforced  by  a  sustained  ac- 
companiment in  long  notes  by  the  rest  of  the 
Orchestra,  replacing  the  organ  part."  This  crit- 
ical account  of  the  piece  now  relegated  —  shall  we 
say  translated  ?  —  to  the  programmes  of  "  Pop 
Concerts,"  speaks  a  word  of  its  own  for  the 
musical  distance  traversed  since  1884. 

Another  early  popular  success  was  the  play- 
ing of  Saint-Saens'  "  Danse  Macabre  "  when  Mr. 
Gericke's  first  season  was  nearing  its  end.  This 
elicited,  according  to  a  newspaper  account  of  the 
matter,  "  the  first  encore  ever  granted  since  the 
Boston  Symphony  Orchestra  first  began  its  con- 
certs. The  delight  one  actually  feels  at  finding  a 
genuine,  spontaneous  cri  du  cceur  coming  from  a 
Boston  audience  is  quite  enough  to  silence  all 
pedantic  criticism  on  the  unusual  proceeding." 

119 


BOSTON  SYMPHONY  ORCHESTRA 

No  wonder  that  Mr.  Elson  said  after  the  concert 
at  which  the  "Largo"  was  first  played:  — 

The  applause  at  its  close  showed  that  Boston  audi- 
tors are  beginning  to  recognize  a  good  performance 
when  they  hear  it.  I  may  add  here  that  several  times 
during  the  concert  the  applause  burst  forth  in  the  same 
overwhelming  fashion,  and  that  the  hall  was  for  once 
thronged.  How  different  it  used  to  be  in  Boston  !  I 
can  remember  concerts  in  the  city  where  the  critic  felt 
very  lonely,  where  musical  autocrats  fell  asleep,  and 
where  the  small  audience  was  so  cold  that  the  conduc- 
tor's teeth  chattered  and  the  Orchestra  had  to  put  on 
ulsters.  Of  course  in  those  pre-Higginson  days  ap- 
plause was  unknown,  and  if  once  an  enthusiastic  youth 
did  clap  his  hands,  it  was  discovered  that  he  came  from 
New  York,  and  he  was  requested  by  a  committee  from 
the  congre  —  I  mean,  from  the  audience,  to  discontinue 
such  indecorous  proceedings.  Nous  avons  changes  tout 
cela.  We  are  getting  as  excitable  as  a  La  Scala  audi- 
ence, and  when  we  once  establish  the  good  old  custom 
of  hissing  bad  work  we  shall  be  all  right. 

The  public  expressions  of  disapproval  of  the 
concerts  during  Mr.  Gericke's  first  year  seem  to 
have  been  concerned  only  with  the  programmes. 
There  were  those  who  condemned  them  roundly 
as  not  sufficiently  inclusive.  On  the  other  hand, 
it  was  intimated,  in  print,  that  a  great  number 
of  modern  compositions  would  have  been  played 

1 20 


ESTABLISHING  UNDER  GERICKE 

if  Mr.  Gericke  had  thought  the  Orchestra  yet 
capable  of  doing  them  justice.  In  spite  of  occa- 
sional offerings  like  the  "Danse  Macabre,"  he 
was  putting  into  practice  his  belief  that  the  con- 
certs should  be  put  on  a  classical  basis.  To  this 
end  he  omitted  from  his  sixth  programme  what 
had  never  been  absent  before  —  the  performance 
of  a  soloist ;  and,  to  the  credit  of  the  audience  he 
was  trying  to  educate,  the  experiment  was  pro- 
nounced a  success. 

It  was  unfortunately  within  the  Orchestra 
itself  that  Mr.  Gericke  encountered  his  most 
difficult  problems.  In  his  process  of  making  it 
homogeneous  it  was  necessary  to  work  individual 
hardships  —  in  the  removal  of  older  players  to 
make  place  for  musicians  meeting  the  require- 
ments of  excellence  upon  which  he  insisted.  Some 
of  the  players  thus  removed  had  established  them- 
selves firmly,  and  deservedly,  in  the  local  esteem 
—  perhaps  so  firmly,  in  certain  instances,  as  to 
render  them  indifferent  to  the  necessity  of  the 
strictest  discipline.  It  is  told  of  a  popular  violon- 
cellist who  quitted  the  Orchestra  while  Mr. 
Henschel  was  conducting  it  that  the  real  diffi- 

121 


BOSTON  SYMPHONY  ORCHESTRA 

culty  lay  in  his  refusal  to  share  a  music-stand 
with  another  musician.  More  serious  troubles 
probably  arose  with  the  accomplished  violinist 
and  'cellist  with  whose  services  Mr.  Gericke  dis- 
pensed at  about  the  middle  of  his  first  season.  It 
was  at  the  opening  of  his  second  season  that  the 
changes  in  the  Orchestra  were  most  extensive, 
and  the  consequent  disturbance  was  most  pro- 
nounced. In  the  previous  pages  Mr.  Gericke  has 
told  of  his  engaging  twenty  new  musicians  in 
Europe  in  the  summer  between  his  first  and 
second  seasons.  It  requires  little  imagination  to 
appreciate  the  immediate  results  of  all  the  sup- 
planting of  old  players  by  new  which  this  im- 
portation of  foreign  musicians  brought  to  pass. 
In  the  first  place,  such  musicians  as  Listemann 
and  Leopold  Lichtenberg  —  to  make  the  list  no 
longer  —  were  men  whose  genuinely  artistic  qual- 
ities had  won  them  many  admirers ;  and  whether 
they  were  dismissed  for  musical  or  disciplinary 
reasons,  the  public  knew  only  that  they  were  gone. 
In  the  second  place,  Mr.  Kneisel,  and  those  who 
came  with  him,  the  Messrs.  Adamowski  and  oth- 
ers who  soon  followed,  —  many  of  them  through 

122 


ESTABLISHING  UNDER  GERICKE 

the  direct  agency  of  Mr.  Gericke,  —  and  Mr. 
Loeffler,  who  had  joined  the  Orchestra  in  its  sec- 
ond season,  were  young  men  with  all  their  work 
for  the  cause  of  music  in  Boston  and  America 
still  to  be  done.  The  total  value  of  their  services 
could  not  possibly  be  measured  in  advance.  Quite 
apart  from  the  strengthening  of  the  Orchestra  by 
so  much  new  and  efficient  blood,  they  and  their 
fellows  —  including  such  later  arrivals  as  Mr. 
Longy  —  have  put  the  public  heavily  in  their 
debt  in  many  ways,  especially  through  their  Quar- 
tettes and  other  small  associations  giving  concerts 
of  chamber  music.  The  close  connection  of  these 
organizations  with  the  Orchestra  is  illustrated  by 
the  fact  that  the  deficits  of  the  Kneisel  Quartette 
concerts  —  while  deficits  continued,  and  while 
the  members  of  the  Quartette  remained  mem- 
bers of  the  Orchestra  —  were  met  like  those  of 
the  larger  organization.  But  the  services  of  the 
newcomers  were  hardly  to  be  foreseen  at  the  very 
first,  and  the  fact  that  their  coming  was  not  cel- 
ebrated with  unmixed  rejoicing  need  occasion  no 
astonishment. 

When  the  first  changes  oi  personnel  occurred, 
123 


BOSTON  SYMPHONY  ORCHESTRA 

one  of  the  local  writers  on  musical  subjects,  ad- 
mitting that  "  the  Boston  Symphony  Orchestra 
play  together  well,"  declared  that  there  was 
"  more  discord  than  harmony  in  the  relations  of 
the  musicians  with  the  director,"  and  that  "prob- 
ably the  symphony  enterprise  will  die  a  natural 
death  at  the  close  of  the  present  season."  In  the 
second  year  it  was  said  that  "it  would  be  possi- 
ble to  make  a  very  strong  orchestra  out  of  the  ex- 
members  of  the  Boston  Symphony  Orchestra  "  ; 
and  when  Thanksgiving  came,  a  waggish  critic, 
enumerating  the  causes  for  gratitude  in  Boston, 
remarked  :  "  For  example,  we  are  thankful  that 
Mr.  Gericke,  in  his  sweeping  discharges,  did  not 
discharge  Mr.  Higginson.  We  are  thankful  that 
one  or  two  Americans  are  still  left  in  our  Sym- 
phony Orchestra,  so  that  the  United  States  lan- 
guage may  be  preserved  from  oblivion." 

It  was  easy  enough  to  poke  fun  at  the  trans- 
formation of  the  Orchestra,  and  natural  enough 
for  certain  persons  to  resent  it ;  but  the  fact  that 
it  was  transformed — and  that  for  the  better  — 
was  the  important  matter,  and  one  which  soon 
demanded,  and   received,   general   acknowledg- 

124 


ESTABLISHING  UNDER  GERICKE 

ment.  Meanwhile  the  transformation  of  the  au- 
diences, the  extension  of  their  musical  interest, 
was  proceeding  pari  passu.  Here  too  there  was 
plenty  of  resistance.  Mr.  Gericke  has  described 
the  first  reception  of  Bruckner's  Seventh  Sym- 
phony, at  the  end  of  which  he  says  there  were 
"more  people  on  the  stage  than  in  the  audi- 
ence." This  statement  finds  its  corroboration  at 
the  hands  of  the  critic  in  the  "  Saturday  Evening 
Gazette,"  who  said  of  the  Symphony :  "  Its 
effect  upon  the  audience  was  to  induce  very 
many  to  depart  after  the  second  movement,  and 
at  the  end  of  the  third  there  was  a  still  more 
general  exodus."  With  a  resurgence  of  the  vo- 
cabulary employed  in  the  time  of  Mr.  Henschel, 
this  critic  defined  Bruckner's  composition  as  "a 
prolonged  moan  and  groan,  varied  now  and  then 
with  a  gloomy  and  soul-depressing  bellow ;  — 
Wagner  in  a  prolonged  attack  of  sea-sickness ;  a 
huge  barnacle-covered  whale  of  a  symphony  but 
without  any  lubricating  blubber."  A  newspaper 
paragraphist  made  the  suggestion  that  in  the 
emergency  of  fire  in  the  Music  Hall  Bruckner's 
Symphony  might  be  put  into  play  instead  of  the 

125 


BOSTON  SYMPHONY  ORCHESTRA 

usual  steam-squirt/  Brahms  was  still  faring  little 
better  with  the  unregenerate,  though  the  "Tran- 
script," after  a  concert  at  which  his  variations  on 
a  theme  by  Haydn  were  played,  quoted  "a  cer- 
tain musician"  who  declared:  "Well,  we  shall  all 
live  to  see  Brahms  encored  yet !  "  As  for  Richard 
Strauss  —  when,  for  the  first  time,  one  of  his  com- 
positions, the  "  Symphonic  Fantasie,  In  Italy,"  was 
played  during  Mr.  Gericke's  fifth  season,  it  was 
recorded  by  Mr.  Elson  :  "The  auditors  marched 
out  by  platoons  during  the  pauses  between  the 
movements,  and  some  of  the  bolder  ones  even 
made  a  dash  for  the  doors  during  the  perform- 
ance. Nevertheless,  one  should  be  glad  that  this 
new  work  has  been  given  a  hearing  in  Boston, 
but  there  will  be  no  urgent  demand  for  its  speedy 
repetition."  It  was  the  old  story  of  the  instruc- 
tion of  the  unwilling  —  the  gradual  and  difficult 
direction  of  desire.  But  for  the  persistence  of  the 
second  and  other  conductors  in  giving  the  audi- 
ence  the  opportunity,  often   unwished   for,  to 

»  The  vitality  of  this  jest  and  of  the  spirit  behind  it  was  attested  soon 
after  the  opening  of  Symphony  Hall  in  1900  by  a  paragraphist's  re- 
port that  the  fire-escapes  in  the  new  building  were  marked,  "This 
way  out  in  case  of  Brahms." 

126 


ESTABLISHING  UNDER  GERICKE 

broaden  the  boundaries  of  their  taste  and  knowl- 
edge, the  Boston  public  would  obviously  have 
been  even  longer  in  arriving  at  the  point  at 
which  Mr.  Gericke  could  describe  it  as  "  one  of 
the  most  cultivated  and  best  understanding  mu- 
sical publics  I  know."  After  all  it  is  little  more 
than  two  years  ago  that  so  enlightened  a  journal 
as  the  London  "Spectator"  printed  an 

ODE    TO    DISCORD 
(Inspired  by  a  Stratus  Symphony.) 

Hence  loathed  Melody,  whose  name  recalls 
The  mellow  fluting  of  the  nightingale 

In  some  sequestered  vale, 

The  murmur  of  the  stream 

Heard  in  a  dream, 
Or  drowsy  plash  of  distant  waterfalls  ! 
But  thou,  divine  Cacophony,  assume 
The  rightful  overlordship  in  her  room, 
And  with  Percussion's  stimulating  aid 
Expel  the  heavenly  but  no  longer  youthful  maid ! 

Bestir  ye,  minions  of  the  goddess  new, 

And  pay  her  homage  due. 
First  let  the  gong's  reverberating  clang 

With  clash  of  shivering  metal 
Inaugurate  the  reign  of  Sturm  and  Drang! 

Let  drums  (bass,  side,  and  kettle) 
Add  to  the  general  welter,  and  conspire 
To  set  our  senses  furiously  on  fire. 
Noise,  yet  more  noise,  I  say.    Ye  trumpets,  blare 

127 


BOSTON  SYMPHONY  ORCHESTRA 

In  unrelated  keys  and  rend  the  affrighted  air, 
Nor  let  the  shrieking  piccolo  refrain 
To  pierce  the  midmost  marrow  of  the  brain. 
Bleat,  cornets,  bleat,  and  let  the  loud  bassoon 
Bay  like  a  bloodhound  at  an  azure  moon ! 

Last,  with  stentorian  roar. 
To  consummate  our  musical  Majuba, 

Let  the  profound  bass  tuba 
Emit  one  long  and  Brobdingnagian  snore. 

It  was  under  Mr.  Gericke  that  the  Orchestra 
began  the  extension  of  its  influence  beyond  New 
England.  New  York  concert-goers  in  the  winter 
of  1887  read  on  the  programmes  of  the  Boston 
Symphony  Orchestra :  — 

Since  its  establishment  it  has  been  the  desire  to 
make  its  scope  and  influence  national ;  for  several  sea- 
sons concerts  and  series  of  concerts  have  been  given  in 
the  large  New  England  cities,  and  last  year  it  journeyed 
for  several  weeks  in  the  Middle  and  Western  States. 
Such  an  itinerary  represents  one  of  the  purposes  of  its 
founder,  and  plans  are  now  completed  for  a  second 
tour,  which  will  occupy  a  longer  period  and  embrace 
all  the  larger  Central  and  Western  cities,  including 
New  York.  The  concerts  of  this  Orchestra,  wherever 
given,  are  conducted  with  the  same  business  system 
and  musical  thoroughness,  and  there  is  no  such  thing 
as  a  "substitute  player"  in  its  ranks.  It  gives  the  best 
always  ;  Milwaukee  and  Louisville,  St.  Louis  and  New 
York  can  recognize  no  difference  in  its  point  of  view. 

128 


ESTABLISHING  UNDER  GERICKE 

Both  Mr.  Higginson  and  Mr.  Gericke  have 
remarked  upon  the  first  appearance  of  the  Or- 
chestra in  New  York  —  the  postponement  of  the 
engagement  until  the  conductor  believed  it  could 
be  met  with  credit,  the  hearty  reception  by  the 
New  York  audience,  the  indirect  effect  at  home  of 
this  success  abroad.  The  New  York  critics  of  the 
time  were  not  entirely  at  one  in  awarding  the 
Boston  players  the  very  highest  measure  of  praise, 
— the  "  Evening  Post "  especially  maintaining 
that  the  orchestras  of  its  own  city  had  given  con- 
certs of  equal  merit.  But  the  "Times"  expressed 
the  more  general  feeling  when  it  said  after  the 
first  concert :  — 

Taken  altogether  such  a  triumph  as  last  evening's 
concert  is  a  rare  and  happy  thing.  "  Thus  fate  knocks 
at  the  door,"  said  Beethoven,  pointing  to  the  four 
notes  with  which  the  C  Minor  Symphony  begins. 
Thus  fate,  in  the  shape  of  Boston,  knocked  at  our 
doors  last  night,  and  if  the  entrance  of  a  new  prophet 
demolishes  some  of  our  old  beliefs,  unsettles  some  of 
our  ancient  traditions,  and  awakens  new  longings,  let 
us  be  thankful  wholly  for  the  goods  the  gods  pro- 
vide us. 

After  the  second  concert,  March   2,  1887,  a 
129 


BOSTON  SYMPHONY  ORCHESTRA 

special  correspondent  wrote  to  the  Boston  "  Trav- 
eller":— 

Many  surprises  marked  the  evening,  not  the  least 
of  which  was  the  character  of  the  audience;  in  place  of 
the  faces  of  foreign  type  which  accompany  one  every- 
where in  cosmopolitan  New  York,  here  right  along- 
side was  one  of  the  loveliest  old  New  England  grand- 
mammas, with  a  bevy  of  nephews  and  nieces ;  in  the 
next  row  a  group  of  fine  fellows,  New  Yorkers,  it  may 
be,  but  Harvard  men  undoubtedly,  while  it  was  such 
a  pleasure  to  see  all  about  the  faces  with  which  one  felt  a 
kinship.  This  is  written  not  in  disparagement  of  those 
truly  musical  people,  the  Germans,  who  seem  to  form 
the  bulk  of  a  New  York  concert  constituency,  but  only 
to  show,  it  may  be  to  others  who,  like  the  writer,  have 
been  really  homesick  for  the  sight  of  2.  family  face  when 
for  any  cause  brought  into  a  promiscuous  company  in 
New  York,  that  they  are  to  be  found  there,  but  it  needs 
some  such  summons  as  the  Gabriel  trump  of  a  Boston 
orchestra  to  bring  them  out.  There  were  present,  as  a 
matter  of  course,  many  German  musicians  and  dilet- 
tanti ;  and  many  members  of  the  New  York  orchestras, 
almost  all  of  Herr  Seidl's  band,  embraced  this  oppor- 
tunity to  hear  what  sort  of  truth  our  Boston  Fiddlers 
and  Fifers  spake. 

Whatever  New  England  may  have  contributed 
to  the  New  York  audience,  there  can  be  no  doubt 
that  the  New  York  approval  did  for  the  Or- 
chestra in  Boston  very  much  what  a  European 

130 


ESTABLISHING  UNDER  GERICKE 

success  accomplishes  for  any  American  artist  and 
his  work.  The  reports  of  Western  and  Southern 
triumphs  served  the  same  good  purpose.  When 
the  Orchestra  in  the  spring  of  1887  returned 
from  a  long  Western  tour  and  played  in  Boston 
on  May  21,  Mr.  Gericke  received  so  hearty  an 
ovation  that  it  was  said :  "  A  victorious  general, 
fresh  from  serving  his  country,  could  not  have 
been  more  rapturously  received."  Thus  the  tours, 
immensely  costly  as  they  were  before  the  Or- 
chestra had  made  its  present  public  in  other  cities 
than  Boston,  justified  themselves  through  an  in- 
crease of  prestige  at  home,  and  —  perhaps  even 
more — through  imparting  to  conductor  and  band 
the  consciousness  of  their  ability  to  win  a  more 
than  local  recognition.  Nor  was  the  cost  of  it 
all  in  money  only.  Business  management,  disci- 
pline, good  temper,  self-control  have  been  put 
to  the  severest  tests.  In  an  article  in  "  Harper's 
Weekly"  (March  29,  191 3)  on  "Touring  with 
an  Orchestra,"  Mr.  W.  E.  Walter,  of  the  present 
staff  of  Symphony  Hall,  has  described  the  humors 
and  tribulations  of  "the  road."  Two  passages 
from  this  entertaining  paper  suggest  something 


BOSTON  SYMPHONY  ORCHESTRA 

of  the  difficulties  with  which  the  management 
has  had  to  cope. 

The  truth  is  [says  Mr.  Walter]  that  every  orchestra 
must  do  a  certain  amount  of  travelling  if  its  organiza- 
tion is  to  be  kept  together,  which  is  a  good  thing  for 
the  country  in  general  and  music  in  particular.  Condi- 
tions are  very  different,  thanks  to  these  tours,  from 
what  they  were  when  Theodore  Thomas  and  his  band 
used  to  travel  up  and  down  the  country  in  the  seven- 
ties and  earlier  eighties,  and  when  the  Boston  Sym- 
phony Orchestra  began  to  make  its  trips  to  the  Middle 
West,  twenty-five  years  ago.  Not  now,  even  in  Medi- 
cine Hat  or  Painted  Post,  —  to  use  those  names  ge- 
nerically,  —  would  such  an  incident  be  possible  as  almost 
paralyzed  the  late  Fred  Comee,  for  years  the  assistant 
manager  of  the  Boston  Symphony  Orchestra.  The 
place  was  not  in  the  Far  West,  but  a  thriving  city  of 
Central  New  York,  and  the  time  just  twenty-five  years 
ago.  Arriving  in  town  with  the  Orchestra  for  a  concert 
that  night,  Comee  went  direct  to  the  theatre  to  see 
what  the  sale  was,  that  being  the  most  important  ques- 
tion of  the  day.  He  was  greeted  by  the  local  manager 
with  that  calm  indifference  assumed  when  the  house  is 
rented  and  the  money  sure,  whether  or  not  any  tickets 
are  sold.  The  advance  sale  was  discouraging,  and  Comee 
turned  to  the  local  manager  for  comfort  and  sugges- 
tion. 

"  When  do  you  parade  ? "  asked  the  local  man. 

"  Parade  ?  "  queried  Comee  in  a  puzzle. 

"  Sure.   Don't  your  troupe  always  parade  before  the 

132 


ESTABLISHING  UNDER  GERICKE 

show  ?  You  won't  do  no  business  without  it."    And 
the  impresario  was  right. 

Although  the  local  theatre  managers  do  not  regard 
an  orchestra  as  a  black-faced  ministrel  troupe,  their  at- 
titude toward  it  is  still  full  of  suspicion,  tinged  with 
contempt.  If  the  house  is  large  it  is  just  the  foolish- 
ness of  the  women  that  accounts  for  it.  If  it  is  small 
it  is  the  highbrow  character  of  the  "show"  that  is  re- 
sponsible. The  darkness  of  the  musical  middle  ages 
of  America  has  not  yet  entirely  disappeared. 

Even  when  the  methods  of  a  minstrel  troupe 
are  not  contemplated,  strange  provisions  must 
sometimes  be  made.  From  the  article  just  quoted 
comes  the  following  ray  of  sidelight  upon  the 
Orchestra  on  its  travels :  — 

Once  the  Boston  Symphony  Orchestra  was  to  give  a 
concert  at  one  of  the  principal  universities  of  the  East, 
which  is  the  possessor  of  a  very  pretty  hall,  albeit  a 
small  one.  When  the  librarian  arrived  in  the  afternoon 
to  arrange  the  desks  and  chairs  for  the  musicians,  he 
discovered  that  the  centre  of  the  stage  was  held  by  an 
elaborate  canopied  chair  of  marble,  evidently  the  pres- 
ident's seat  of  honor  at  university  gatherings.  It  was 
permanent,  not  to  be  moved,  and  as  the  stage  was  so 
small  that  every  inch  was  needed  to  find  space  for  the 
seventy-odd  musicians,  the  chair  had  to  accommodate 
some  one.  He  thought  over  the  situation  carefully, 
and  decided  that  the  honor  of  this  place  must  go  to 
the  first  bassoonist,  for  he  was  a  most  dignified-appear- 


BOSTON  SYMPHONY  ORCHESTRA 

ing  man,  and  the  bassoon,  although  often  put  to  base 
comic  uses  by  frivolous  composers,  is  really,  in  its  best 
estate,  the  most  solemn  and  dignified  instrument  in  the 
orchestra.  The  combination  of  the  marble  throne  and 
the  dignified,  bald-headed  German  blowing  earnestly 
into  his  long,  black  tube,  in  the  very  centre  of  the  lime- 
light, as  it  were,  overshadowing  even  the  swaying  con- 
ductor, was  a  huge  success.  Even  the  saddest  and  most 
serious  music  could  not  rob  the  audience  of  its  happy 
mood. 

It  was  chiefly  on  the  road  that  such  enliven- 
ing variations  from  the  routine  of  the  concerts 
could  occur.  In  Boston  the  accepted,  the  ex- 
pected, was  more  and  more  sure  to  happen.  To 
be  sure,  it  was  told  of  a  tympani  player  of  the 
first  decade  of  the  Orchestra  that  his  energy  in 
the  finale  of  a  Beethoven  symphony  quite  upset 
the  gravity  of  the  double-basses  in  front  of  him, 
and  that  "  when  he  lost  control  of  his  cuffs  and 
they  skimmed  along  merrily  towards  the  statue 
of  Beethoven,  it  did  seem  that  the  bronze  features 
relaxed." 

Yet  for  the  picturesque  and  unusual  it  has  com- 
monly been  necessary  to  look  outside  the  concert 
hall  —  for  example,  at  the  sales  of  tickets,  by 
auction,  and  at  the  box  office  to  those  who  were 

134 


ESTABLISHING  UNDER  GERICKE 

willing,  or  purchasable,  to  wait  in  line  for  the 
opportunity  to  buy  the  season  tickets  remaining 
after  an  auction  sale.  During  Mr.  Gericke's  con- 
ductorship  this  method  of  securing  seats — often 
for  the  profit  of  speculators  —  was  practised  to  an 
extent  that  yielded  strange  manifestations.  In  the 
autumn  of  1888  a  newspaper  reported  two  hun- 
dred and  fifty  to  three  hundred  men  and  boys  in 
line  from  Saturday  till  Tuesday  morning,  with 
the  object  of  purchasing  the  $7.50  seats  in  the 
first  balcony  and  at  the  rear  of  the  hall  not  bought 
at  auction.  There  were  only  five  hundred  of  these 
seats,  and  each  person  who  reached  the  box  ofiice 
was  entitled  to  buy  four.  When  the  box  office 
closed  that  year,  the  waiting-line  stretched  nearly 
to  Winter  Street  down  the  "Place"  which  led 
to  Music  Hall.  Four  or  five  dollars  a  day,  for 
those  who  persisted  to  the  end,  was  the  reward 
for  waiting.  During  this  period  substitutes  would 
"spell"  the  linesmen  long  enough  for  them  to 
secure  food.  "  Sleep,"  wrote  a  reporter  who  vis- 
ited the  scene,  "  was  obtained  in  this  way :  They 
are  pressed  so  closely  together  that  one  might 
lift  his  feet  from  the  ground  and  still  remain  in 

135 


BOSTON  SYMPHONY  ORCHESTRA 

an  upright  position.  The  first  man,  the  one  near- 
est the  office,  rests  his  head  against  the  building 
and  all  behind  him  rest  heads  on  the  shoulders 
of  the  man  in  front,  and  in  this  way  obtain  rest. 
Occasionally  if  a  man  gets  to  snoring,  he  is 
quickly  jammed  without  the  line  and  loses  his 
place."  In  the  following  year  some  of  the  places 
in  the  waiting-line  were  said  to  have  been  held, 
with  the  aid  of  coffee  and  sandwiches  provided 
by  the  speculators,  for  five  days.  It  is  only  to  be 
hoped  that  the  concert-goers  who  obtained  their 
seats  by  this  process  derived  from  them  a  pleasure 
at  all  offsetting  the  pain  of  their  acquisition.  It 
was  in  the  following  light  that  the  matter  pre- 
sented itself  to  a  writer  for  the  "  Traveller  "  in 
the  autumn  of  1887:  — 

The  historian  who  sometime  will  write  the  record 
of  music  in  America  will  linger  long  over  one  phase  of 
the  Symphony  concert  patronage  in  Boston.  Cincin- 
nati's Festivals  will  appear  in  bold  type,  the  splendid 
achievement  in  German  opera  which  New  York  saw 
from  1885-86  will  be  duly  chronicled,  but  there  will 
be  no  precedent  with  which  to  compare  the  startling 
item  which  must  be  entered  by  the  recorder  who  reads 
the  musical  condition  of  Boston  for  the  season  of  1886- 
87 ;  $100,000  were  taken  during  five  days  in  payment 

136 


ESTABLISHING  UNDER  GERICKE 

for  forty-eight  concerts  (rehearsals  and  concerts  num- 
bering twenty-four  each)  of  the  severest  classical  music. 
If  the  historian  is  not  a  Boston  man,  he  will  less  easily 
explain  the  situation.  If  he  is  an  optimist  and  a  for- 
eigner, he  will  declare  us  to  have  been  a  city  of  eternal 
excellence  in  music,  devoted  worshippers  of  the  beau- 
tiful art;  if  he  be  a  pessimist  and  a  native,  he  will  mut- 
ter "fashion,"  end  his  chapter  and  bite  off  his  indigna- 
tion quickly.  The  pessimist  will  have  the  truth  with 
him. 

But  fashion  is  serving  art  in  a  most  magnificent  man- 
ner with  her  lavish  expenditure,  and  we  are  all  opti- 
mists, Mr.  Historian,  however  you  may  diagnose  our 
descendants.  There  's  the  rub.  Did  we  know  the  Sym- 
phony Concerts  were  to  be  eternal,  ...  we  would  not 
concern  ourselves  with  the  future  state ;  but  fashion 
may  weary,  the  Music  Hall  may  crumble,  there  may 
at  last  come  no  Mr.  Higginson.  What  then  ?  Well, 
the  historian  would  benefit  mostly  by  it,  for  it  would 
supply  a  really  tragic  character  to  an  otherwise  bald 
proceeding.  But  in  the  sunshine  of  the  present,  who 
cares  ? 

So  far  the  historian  has  not  profited  by  a  tragic 
climax  for  his  narrative,  nor  does  it  seem  con- 
ceivable that  any  such  conclusion  of  the  story 
awaits  the  future  chronicler —  or  the  constantly 
benefited  public.  The  "sunshine  of  the  pres- 
ent" has  been  carried  far  into  what  was  in  1887 
the  uncertain  future.   This  is  simply  because  the 


BOSTON  SYMPHONY  ORCHESTRA 

enterprise  of  the  Orchestra  was  undertaken  and 
established  on  a  basis  of  permanence.  One  of  the 
tokens  of  this  fact  is  found  in  the  remarkable 
infrequency  with  which  any  steps,  in  this  direc- 
tion or  that,  have  been  abandoned  or  retraced. 
The  very  details  of  the  plan  which  Mr.  Higgin- 
son'put  into  words  in  the  spring  of  1881,  before 
a  single  concert  was  given,  have,  to  an  extraor- 
dinary degree,  been  carried  out.  Except  for  the 
change  of  methods  in  the  sale  of  tickets,  the  in- 
evitable advance  of  prices,  and  the  substitution 
of  nominal  for  actual  rehearsals  on  Friday  after- 
noons, it  is  hard  to  name  any  modifications  of 
the  original  scheme  which  have  not  been  devel- 
opments rather  than  changes  in  its  provisions. 
Under  Mr.  Gericke  virtually  all  of  the  present 
methods  of  the  Orchestra  and  its  concerts  be- 
came fixed. 

Early  in  his  conductorship,  for  example,  the 
management  began  to  provide  the  concert-goers 
with  a  sheet  bearing  the  name  "  Music  Hall  Bul- 
letin," and  containing  historical  and  analytical 
notes  on  the  numbers  of  the  programme.  These 
were  prepared  by  Mr.  George  H.  Wilson.    In 

138 


ESTABLISHING  UNDER  GERICKE 

Mr.  Gericke's  final  season  a  thirty -two  page 
pamphlet,  under  the  same  editorship,  replaced 
the  simpler  "Bulletin."  In  the  season  of  1892- 
93,  the  editorship  was  transferred  to  the  accom- 
plished hands  of  the  late  William  F.  Apthorp. 
In  1 90 1,  Mr.  Philip  Hale  took  up  this  work, 
which  he  still  conducts  with  skill  and  learning. 
Through  all  these  years  the  programmes  have 
served  a  far-reaching  educational  purpose,  not  only 
with  direct  reference  to  the  concert  of  the  even- 
ing, but  through  bringing  together  an  extraor- 
dinary mass  of  musical  lore,  historical,  critical, 
and  biographical.  Too  eagerly,  indeed,  have  some 
readers  of  the  programme -notes  devoured  the 
feast  that  has  been  spread  before  them.  Even  be- 
fore Mr.  Apthorp's  editorial  day,  John  S.  Dwight 
addressed  himself  to  the  Boston  public:  "We 
may  read  and  we  may  listen,  but  not  both,  dear 
friend,  at  the  same  time.  Read  the  matter  either 
before  you  settle  down  into  the  listening,  recep- 
tive mood,  or  wait  till  you  get  home ;  it  may 
help  a  little  to  recall  what  you  have  heard  and 
found  so  fleeting.  The  very  sight  and  rattle  of 
your  pamphlet  is  an  annoyance  to  those  who 

139 


BOSTON  SYMPHONY  ORCHESTRA 

really  do  listen.  And  you  wrong  yourself  at  the 
same  time;  you  let  your  pamphlet-study  cheat 
you  out  of  what  you  hoped  to  hear." 

In  spite  of  such  intemperance  in  acquiring 
musical  information,  the  fact  that  the  public  was 
steadily  becoming  better  educated  was  a  fact  in 
favor  of  the  "Popular  Concerts"  —  in  local  ver- 
nacular, the  "Pops"  —  which  were  instituted  in 
the  spring  of  1885,  at  the  end  of  Mr.  Ger- 
icke's  first  season,  and  but  for  1890,  when  a  li- 
cense to  sell  light  alcoholic  beverages  in  Music 
Hall  was  refused,  have  been  continued  ever  since, 
in  the  months  of  May  and  June.  Mr.  Gericke's 
purpose  in  providing  these  concerts  was  of  a  piece 
with  the  plan  to  visit  other  cities  than  Boston 
—  that  the  men  of  the  Orchestra  might  be  of- 
fered longer,  and  therefore  more  advantageous, 
engagements.  The  programmes  of  the  "Pops" 
have  always  been  constructed  with  a  view  to  the 
accompaniment  of  tobacco  and  other  physical  so- 
laces, and  a  partially  different  public  has  always 
been  ready  for  the  less  severely  classical  music 
which  these  concerts  have  provided.  But  a  stead- 
ily growing  appreciation  of  the  more  substantial 

140 


ESTABLISHING  UNDER  GERICKE 

music  that  has  always  been  offered  is  a  phenom- 
enon of  striking  import  to  those  who  have 
watched  the  long  course  of  the  "  Pops."  Whether 
or  not  they  have  increased  the  clientele  of  the 
Symphony  Concerts,  they  have  admirably  served 
their  end  in  extending  the  employment  of  the 
orchestral  players,  in  bringing  forward  young 
conductors  from  the  ranks  of  the  Orchestra,  in 
producing  income,  and  in  yielding  both  a  social 
and  a  musical  pleasure  to  thousands  of  persons, 
young  and  old. 

Another  species  of  concert  given  by  Mr.  Ger- 
icke,  but  not  long  maintained,  was  the  "Young 
People's  Popular  Concert"  on  winter  afternoons. 
The  programmes  were  less  distinctively  "light" 
than  those  of  the  "Pops,"  and  the  audiences 
must  have  been  drawn  largely  from  the  support- 
ers of  the  Friday  afternoon  rehearsals,  so  that  the 
concerts  did  more  to  satisfy  the  frequent  demand 
for  additional  performances  by  the  Orchestra  than 
to  meet  a  need  otherwise  unmet.  This  cannot  be 
said  of  a  concert  given  one  Saturday  afternoon  in 
May  of  1886  for  the  school-children  of  Boston, 
of  whom  twenty-five  hundred  came  to   Music 

141 


BOSTON  SYMPHONY  ORCHESTRA 

Hall.  From  time  to  time  there  were  benefit  per- 
formances—  as  before  and  since:  for  the  suffer- 
ers from  a  disastrous  flood  in  Roxbury  in  the 
spring  of  1886,  for  a  Home  for  Destitute  Cath- 
olic Children  in  1888,  and  in  the  same  spring 
for  the  fund  to  be  used  in  erecting  a  monument 
to  Mozart  in  Vienna.  Important  dates  in  musical 
history  were  celebrated  —  as  before  and  since  — 
with  special  concerts.  And  of  course  the  sempi- 
ternal dissatisfaction  with  the  conductor  and  his 
programmes  found  its  expression. 

It  was  impossible  to  censure  Mr.  Gericke  for 
faults  of  the  kind  which  had  been  laid  at  Mr. 
Henschel's  door.  It  could  never  have  been  told 
of  Mr.  Henschel,  for  example,  that  in  rehears- 
ing a  Rubinstein  symphony  he  shook  his  left 
hand  nervously  at  the  'cellos,  saying,  "Softer, 
softer,"  and  that  when  the  first  'cello  remon- 
strated, "  But  it  is  marked  Jorte,"  the  conductor 
responded,  "  Suppose  it  is :  what  do  you  think 
Rubinstein  knew  of  how  an  orchestra  sounds  ? " 
Precisely  this  anecdote  was  told  of  Mr.  Ger- 
icke. It  is  further  told  that  the  brasses  cried,  "  He 
sits  on  the  bells  of  our  instruments,"  and  that  the 

142 


ESTABLISHING  UNDER  GERICKE 

contra-basses  exclaimed,  "  He  scarcely  allows  us 
to  touch  our  strings."  Each  of  these  little  echoes 
from  the  rehearsals  may  be  taken  to  suggest  that 
elimination  of  excess,  that  training  in  delicacy 
and  precision  which  the  Orchestra  so  much 
needed  and  he  so  fully  supplied. 

Every  conductor  has  been  criticised  for  his 
programmes.  At  first  Mr.  Gericke  was  taken  to 
task  for  too  strict  a  loyalty  to  German  compos- 
ers. Those  who  clamored  for  more  American 
music  were  not  always  so  clear-sighted  as  Mr. 
Elson  when  he  wrote  in  1886:  "If  all  the  sym- 
phonic composers  of  America  were  to  hold  a 
mass-meeting,  they  could  be  lodged  in  one  dou- 
ble room  in  any  country  hotel."  But  to  the  little 
shelf  of  American  compositions  and  to  the  li- 
brary of  those  from  other  lands  than  Germany, 
Mr.  Gericke  showed  himself  increasingly  hospi- 
table. Certainly  his  discipline  made  the  Orches- 
tra steadily  more  and  more  efficient,  and  in  the 
general  improvement  it  would  have  been  strange 
if  his  own  skill  as  a  conductor  had  not  steadily  in- 
creased. Such  a  work  as  he  performed  for  music 
in  Boston  is  to  be  accomplished  only  at  heavy 

143 


BOSTON  SYMPHONY  ORCHESTRA 

personal  cost.  The  cost  to  Mr.  Gericke — espe- 
cially in  the  final  season  of  1888—89,  when  the 
Orchestra  gave  i  i  2  concerts  to  audiences  aver- 
aging 2500  —  lay  in  the  strain  upon  his  physical 
health,  to  which  the  New  England  climate  was 
never  propitious.  By  January  of  1 889  it  was  pub- 
licly known  that  he  would  not  return  to  Boston 
in  the  following  autumn,  and  the  choice  of  his 
successor  was  announced.  At  the  end  of  the  reg- 
ular season  the  Orchestra  made  a  three  weeks' 
trip  to  the  West,  going  as  far  as  St.  Louis.  On 
its  return  a  testimonial  farewell  concert  was  given 
in  the  conductor's  honor  on  May  23,  1889. 
The  scene  at  the  conclusion  of  the  concert  was 
graphically  described  at  the  time  by  Mr.  Elson : 

The  enthusiasm  which  had  been  bubbling  up  all 
through  the  evening,  found  its  full  vent  at  the  end  of 
the  concert.  Then  the  audience  rose  (as  they  had  done 
at  the  beginning  of  the  concert,  also)  and  shouted 
themselves  hoarse,  while  waving  of  hats  and  handker- 
chiefs was  carried  on  even  by  the  most  sedate  individ- 
uals. Why  in  the  world  did  not  the  trumpeters  add  the 
climax  by  blowing  a  "Tusch"just  here?  But  every 
one  was  hushed  in  agreeable  surprise  when  Mr.  Ger- 
icke squared  himself  for  a  struggle  with  our  language, 
and  gave  forth  a  charming  little  speech,  all  the  more 

144 


ESTABLISHING  UNDER  GERICKE 

delightful  because  of  its  naive  sentences  and  evident 
sincerity.  He  told  the  people  of  Boston  how  much  he 
appreciated  their  recognition ;  he  thanked  the  Orches- 
tra for  their  faithful  work,  the  public  for  their  steady 
attention  ;  he  thanked  the  Cecilia  for  assisting  at  his 
last  concert,  and  he  thanked  Mr.  Higginson  (all  Bos- 
ton, and  in  some  degree  all  America,  may  join  in  this) 
for  the  munificence  which  had  made  the  Orchestra  what 
it  was,  and  then  he  added  the  single  word  of  parting, 
"  Farewell."  We  can  all  only  hope  that  the  last  word 
is  premature.  Let  us  compromise  the  parting,  oh,  most 
popular  and  deserving  conductor,  on  the  basis  of  "Au 
revoir! " 

A  more  private  farewell  —  none  could  have 
really  believed  it  then  an  "  au  revoir  "  —  took  place 
in  a  party  at  the  house  of  Mrs.  Ole  Bull  in  Cam- 
bridge, at  which  an  album  containing  verses  by 
Holmes,  Aldrich,  and  others  was  presented  to 
Mr.  Gericke;  but  the  most  significant  page  in 
the  book  was  the  fly-leaf,  on  which  was  written, 
over  the  signature  of  J.  S.  Dwight:  "To  the 
Maker  of  the  Boston  Symphony  Orchestra." 
Still  another  private  leave-taking  occurred  at  the 
Tavern  Club,  on  the  night  after  the  Farewell 
Concert  in  Music  Hall.  The  speech  which  Mr. 
Higginson  made  on  this  occasion  records  so  accu- 
rately his  relation   with  the  Orchestra  through 

145 


BOSTON  SYMPHONY  ORCHESTRA 

the  first  eight  seasons  of  its  existence  that  most 
of  it  may  well  be  given  here.  It  provides  also 
the  most  suitable  words  of  parting  from  Mr. 
Gericke  at  this  point  in  the  story  of  the  Boston 
Symphony  Orchestra :  — 

I  asked  for  the  favor  of  saying  a  few  words  to  you, 
not  only  because  I  wanted  to  greet  our  guest  of  the 
evening,  but  because  I  wished  also  to  pay  my  respects 
to  you,  comrades,  for  much  kindness  and  enjoyment 
at  your  hands;  and  still  further  for  leave  to  tell  you  a 
little  of  my  own  story.  It  is  your  kindness  and  ever- 
ready  sympathy  which  has  tempted  me  to  this  last 
subject.  .  .  . 

First,  let  me  say  that  I  alone  am  responsible  for  the 
concerts  of  the  Symphony  Orchestra  and  of  the  Kneisel 
Quartette.  The  success  and  the  beauty  of  these  con- 
certs have  been  wrought  by  the  hands  of  the  musicians 
and  to  them  the  credit  is  due.  But  certain  misappre- 
hensions about  the  concerts  have  arisen,  which  it  may 
be  possible  to  correct.  Friends  have  again  and  again 
said  to  me  that  the  concerts  were  well  enough  in  their 
way,  but  that  they  had  failed  in  their  original  intent, 
as  only  well-to-do  folks  had  filled  the  hall. 

Again,  a  distinguished  musician  of  this  town  declared 
that  the  concerts  had  done  more  harm  than  good,  for, 
said  he,  "  Only  your  fashionable  friends  go  to  them." 
One  musician  urged  me  to  admit  to  the  concerts  only 
the  "truly  poor."  If  a  series  of  concerts  were  off"ered 
at  low  prices  only  to  the  "truly  poor,"  do  you  suppose 

146 


ESTABLISHING  UNDER  GERICKE 

that  any  one  but  the  truly  rich  would  frequent  them  ? 
Others  again  have  deplored  my  folly  in  giving  them  at 
all,  as  they  caused  me  so  much  work  and  thought. 

Here  are  the  facts:  The  scheme,  half-baked,  no 
doubt,  was  simply  this  :  to  give  concerts  of  good  music, 
very  well  performed,  in  such  style  as  we  all  had  heard 
for  years  in  Europe;  to  make  fair  prices  for  the  tickets 
and  then  open  wide  the  doors.  I  believed  that  the 
hearers  would  come  and  stay,  and  grow  in  number. 
Why  not?  And  why  should  I  pick  out  one  kind  of 
an  audience?  The  sunshine  and  the  green  fields,  and 
all  beautiful  things  are  given  to  all  men,  and  not  alone 
to  the  truly  poor  or  to  the  young  or  to  the  old.  Even 
so  with  music.  My  part  was  simple,  viz.:  to  get  to- 
gether the  musicians  under  a  competent  head  and  in- 
sist on  a  high  standard  of  excellence  and  much  and 
intelligent  preparation.  You  know  the  beginning  of  the 
enterprise. 

Mr.  Henschel  first  took  up  the  task  and  brought  to 
it  his  great  enthusiasm,  energy,  and  talent.  It  was  most 
difficult  to  launch  the  scheme,  and  in  that  way  he  ac- 
complished very  much  for  us.  We  all  know  our  debt 
to  him,  and  have  expressed  our  sense  of  it.  But  the 
great  gift  of  song,  with  which  he  and  Mrs.  Henschel 
have  so  often  enchanted  us,  was  too  strong  to  be  re- 
sisted. So  he  left  us  at  the  end  of  three  years,  after 
having  fairly  set  us  on  our  feet. 

Thus  far  the  chief  difficulty  of  the  undertaking  had 
been  to  induce  on  the  part  of  the  Orchestra  enough 
practice,  careful,  unremitting,  and  exclusively  under 
one  head.  We  had  also  to  guard  against  praise  too 

H7 


BOSTON  SYMPHONY  ORCHESTRA 

lightly  given  by  a  kind  public.  But  these  troubles  were 
overcome.  You  know  how  the  quality  of  the  music  has 
risen  and  how  the  audiences  have  increased.  It  is  true 
the  great  demand  for  the  better  seats  has  inevitably 
raised  the  price  of  the  tickets,  and  has  thus  helped  me  to 
meet  the  expenses,  which  have  also  risen  pro  tantOy  and 
which  might  well  have  been  too  heavy  for  me  to  carry. 
But  still  many  tickets  for  seats  and  for  standing  room 
have  always  been  and  are  now  sold  at  the  original  price 
of  twenty-five  cents. 

Several  times  when  I  have  faltered  in  my  plans  for 
the  future,  I  have  taken  heart  again  on  seeing  the 
crowd  of  young,  fresh  school-girls,  of  music-students,  of 
tired  school-teachers,  of  weary  men,  of  little  old  ladies 
leading  gray  lives  not  often  reached  by  the  sunshine, 
and  I  have  said  to  myself:  "One  year  more  anyway." 

To  us  all  come  hard  blows  from  the  hand  of  fate, 
with  hours,  days,  weeks  of  suffering  and  of  sadness. 
Even  boys  and  girls  know  this  early  and  know  it  late. 
At  these  times  music  draws  the  pain,  or  at  least  relieves 
it,  just  as  the  sun  does.  Considering  these  things,  can 
I  have  done  harm  by  the  concerts?  Are  they  not 
worth  while,  even  if  they  cost  me  years  of  work  and 
worry?  What  were  we  made  for?  We  are  all  bound  in 
our  day  and  generation  to  serve  our  country  and  our  fel- 
low-men in  some  way.  Lucky  is  he  who  finds  a  fair 
field  for  his  work,  and  when  he  has  put  his  hand  to 
the  plough,  he  may  not  lightly  turn  back.  He  may  not 
too  easily  say  "Enough,  I  am  weary."  .   .  . 

The  support  of  the  public  was  from  the  first  a  neces- 
sity, and  I  've  always  counted  on  it.  To  this  public,  I 

148 


ESTABLISHING  UNDER  GERICKE 

offer  my  warmest  acknowledgments  for  its  unvaryingly 
courteous  bearing,  while  to  the  members  of  the  Or- 
chestra, I  return  my  hearty  thanks  for  their  labor, 
their  results  so  hardly  won.  And  now  to  whom  do  we 
chiefly  owe  the  guidance  of  all  this  work?  The  gentle- 
man sits  over  there.  [Mr.  Higginson  here  narrated  the 
circumstances  attending  Mr.  Gericke's  engagement  as 
conductor,  through  the  agency  of  Julius  Epstein.]  One 
word  my  friend  said  in  reply  to  my  questions  as  to 
Gericke,  —  "He  is  an  excellent  and  thorough  musician 
and  artist  of  great  ability.  He  is  most  conscientious 
in  his  life  and  in  his  work.  He  is  absolutely  trustworthy. 
He  is  an  Ehrenmann,  a  gentleman."  The  other  day 
my  Viennese  friend  wrote  me  again  the  same  words 
about  Gericke,  and  expressed  the  strong  hope  that  he 
would  stay. 

Now,  gentlemen,  I  think  you  will  agree  that  my 
friend  was  right  in  his  judgment.  Since  his  coming  in 
October,  1884,  Mr.  Gericke  has  had  entire  control 
of  the  artistic  side  of  the  scheme.  I  've  never  urged 
him  to  any  work,  never  criticised  anything.  He  has 
culled  out  many  men,  added  many  men,  trained  them, 
lifted  them,  and  finally  made  an  Orchestra  of  which 
any  city  might  be  proud.  He  brought  to  his  task  great 
knowledge  and  experience  and  the  highest  standard  of 
excellence;  but  he  was  forced  to  work  under  grave 
difficulties.  Coming  from  Vienna,  whose  very  name 
rings  with  music,  to  our  new  country,  he  found  an 
orchestra  without  the  long-established  traditions  which 
are  the  very  groundwork  of  artistic  undertakings  in 
Europe.    The  methods,  the  relations  between  leader 

149 


BOSTON  SYMPHONY  ORCHESTRA 

and  men,  the  general  conditions  were  wholly  new  to  him. 
The  musicians  were  no  longer  young;  were  of  various 
nations  and  of  various  habits;  the  climate  was  trying; 
the  hall  was  too  large  for  fine  musical  effects.  The 
circumstances  in  many  respects  were  unfavorable  to 
good  results.  But  he  did  not  abate  his  zeal.  He  worked 
early  and  late  with  absolute  fidelity  to  his  task.  He  ex- 
acted an  amount  of  practice  which  his  men  found  try- 
ing, but  which  they  came  to  recognize  as  the  only 
means  of  success.  He  gave  his  three  weekly  perform- 
ances month  by  month  and  year  by  year  under  trials 
and  against  obstacles,  always  feeling  that,  work  as  he 
would,  he  could  not  reach  the  excellence  of  which  he 
dreamed,  and  for  which  he  ached.  After  Mr.  Gerlcke 
had  trained  his  Orchestra  so  as  to  have  it  well  in  hand, 
he  himself  proposed  to  increase  his  work  by  giving 
additional  concerts  in  other  cities,  in  order  to  keep  the 
musicians  employed  during  a  longer  period  of  the  year 
and  so  secure  for  them  more  practice  and  more  pay. 
In  these  cities  he  has  steadily  won  fame  for  himself 
and  for  them,  until  now  he  is  gladly  welcomed  East 
and  West;  and  in  New  York  and  in  Philadelphia  his 
departure  is  deplored,  as  it  is  here.  You  have  heard  and 
will  bear  witness  to  the  great  results  which  he  has 
achieved,  and  with  which  he  has  delighted  his  audiences, 
and  you  will  not  soon  forget  how  the  Orchestra  under 
his  hand  has  learned  to  soar  and  to  sing — surely  the 
highest  praise. 

But  with  all  his  patience  and  skill,  Mr.  Gericke  could 
never  have  done  so  much  unless  faithfully  seconded 
and  aided  by  the  members  of  the  Orchestra. 

150 


ESTABLISHING  UNDER  GERICKE 

Think  of  the  jewels  of  the  Orchestra;  think  of  the 
artists  whom  he  has  brought  together  ;  think  how  they 
lend  brilliancy  to  the  concerts.  Yet  some  skilful  hand 
was  needed  to  set  these  jewels  to  advantage.  Think  of 
the  beautiful  work  to  which  we  have  so  often  listened, 
and  remember  how  very  much  we  owe  to  our  con- 
ductor. 

I  have,  in  short,  found  him  all  my  old  friend  de- 
scribed, and  I  regret  very  deeply  that  he  is  to  leave  us. 
Until  Christmas  I  waited,  hoping  that  his  vigor  would 
return  and  that  he  would  be  equal  to  the  task.  But  in 
vain  !  He  has  exhausted  himself  with  his  work  and 
needs  rest. 

Mr.  Gericke  was  born  and  brought  up  among  a 
warm-blooded  people,  prompt  to  express  their  opin- 
ions and  their  feelings.  He  is  a  modest  man  and  has 
held  back  from  applause  or  praise.  He  has  some- 
times doubted  the  appreciation  of  his  work  by  our 
audiences. 

But  why  is  the  hall  so  crowded  ?  Why  do  so  many 
listeners  of  all  ages  sit  on  the  steps  and  stand  in  the 
aisles  each  week  and  each  year?  They  do  not  come 
there  to  please  Mr.  Gericke  or  me ;  they  do  not  come 
twenty  miles  to  show  their  good  clothes;  they  come  to 
hear  the  music,  and  they  listen  attentively  and  quietly, 
and  go  away  with  only  a  whisper  of  approval,  perhaps, 
but  they  are  happy.  You  and  I  know  that  very  well. 
That  audience  is  not  from  the  Back  Bay  or  from  any 
particular  set  of  people.  They  are  town  folks  and  coun- 
try folks,  and  they  come  to  hear  the  music  at  the  hands 
of  Mr.  Gericke  and  his  Orchestra. 


BOSTON  SYMPHONY  ORCHESTRA 

May  I  not  then  say  to  our  friend  that  he  has  won, 
not  only  in  this  city,  but  throughout  the  country,  a 
host  of  admirers  who  know  his  noble  work  full  well, 
and  who  will  hold  him  in  grateful  and  affectionate 
remembrance  ? 


IV 

THE   SERVICE   OF  ARTHUR   NIKISCH  AND 
EMIL   PAUR 

1889-1898 

THE  transition  from  one  conductor  to  an- 
other has  never  been  an  easy  matter  to  ac- 
complish. The  immense  importance  of  securing 
the  right  man  to  work  in  harmony  with  the 
members  of  the  Orchestra,  with  the  public,  and 
with  the  management  of  the  organization  has 
raised  questions  to  the  answering  of  which  it  has 
manifestly  been  necessary  to  give  the  greatest  care 
and  forethought.  Early  in  Mr.  Gericke's  fifth 
season  it  became  evident  that  his  return  for  a 
sixth  was  doubtful.  Though  his  final  decision 
was  deferred  until  Christmas,  the  choice  of  his 
successor  was  under  serious  consideration  as  early 
as  October.  Mr.  Otto  Dresel,  a  German  musician 
long  resident  in  Boston  and  greatly  trusted  both 
by  the  local  public  and  by  Mr.  Higginson  for  his 
effective  interest  in  the  cause  of  music,  was  then 

153 


BOSTON  SYMPHONY  ORCHESTRA 

in  Europe.  To  him  on  October  8,  1888,  Mr. 
Higginson  wrote  a  long  letter,  dealing  chiefly 
with  the  qualifications  of  Mr.  Arthur  Nikisch 
for  the  post  probably  to  be  vacated ;  but  contain- 
ing passages  about  the  relations  between  himself 
and  the  conductor  of  the  Orchestra  which  have 
a  general  bearing  that  warrants  their  preserva- 
tion. After  touching  upon  Mr.  Gericke's  hard 
and  efficient  work,  Mr.  Higginson  wrote:  — 

I  have  never  exercised  any  supervision ;  I  have  never 
urged  him,  and  I  am  not  in  a  position  to  do  so.  You 
know  very  well  that  I  am  a  busy  man,  and  have  many 
cares  on  my  mind  ;  that  I  must  keep  this  orchestra  mat- 
ter before  me,  but  I  cannot  give  it  much  daily  care  or 
thought.  I  cannot  go  and  see  that  the  conductor  is  busy 
with  his  work  day  after  day,  week  after  week.  Very 
often  I  do  not  go  to  a  rehearsal  for  months  at  a  time. 
That  care  I  will  not  have  on  my  mind,  nor  will  I  have 
any  care  or  worry  with  regard  to  making  the  programmes 
or  arrangements ;  nor  will  I  undertake  to  engage  any 
musicians.  I  have  a  manager  who  is  an  excellent  fellow 
and  has  had  some  experience,  and  who,  here  and  in 
other  cities,  makes  all  arrangements.  He  also  makes 
the  contracts,  by  reengaging  men  when  their  contracts 
expire,  engages  new  men  and  discharges  old  men,  but 
he  does  this  at  the  bidding  of  the  conductor  of  the  Or- 
chestra. .  .  .  He  must  lay  out  his  plans,  of  course 
make  his  programmes,  find  new  men  if  he  loses  the  old 


SERVICE  OF  NIKISCH  AND  PAUR 

ones,  either  by  their  going  or  by  his  dismissal  of  them 
for  ill  conduct  or  for  want  of  ability.  He  must  think 
beforehand  and  arrange  as  to  the  concerts  in  town  and 
out  of  town;  he  must  preserve  discipline  in  the  Or- 
chestra, which  is  a  more  difficult  matter  than  on  the 
other  side.  He  is  free  and  unfettered  in  all  these  mat- 
ters, has  no  government  officer,  inspector,  or  director 
to  bother  him.  He  is  as  free  as  a  man  can  well  be 
in  this  world  — any  man  who  has  much  work  and  con- 
siderable responsibilities  on  his  shoulders.  ...  If  I 
cannot  be  on  friendly  terms  with  the  conductor  of  the 
Orchestra,  I  do  not  want  to  have  anything  to  do  with 
the  thing  at  all.  You  know  the  aims,  objects,  and  pecu- 
niary results  of  all  my  musical  experience  here,  and  you 
know  what  the  result  has  been.  It  is  far  enough  from 
what  I  want  to  attain,  but,  at  the  same  time,  it  has  been 
something.  It  is  a  work  with  which  I  wish  to  go  on  as 
long  as  I  can,  and  if  it  can  be  made  to  continue  for- 
ever, which  is  my  expectation,  so  much  the  better. 

By  the  time  a  third  conductor  was  needed,  it 
was  obviously  to  a  task  of  extensive  and  well-de- 
fined proportions  that  he  was  called.  Mr.  Arthur 
Nikisch,  born  in  Hungary  October  i  2,  i  855,  was 
at  this  time  first  conductor  at  the  Stadt  Theater 
of  Leipzig.  Commended,  as  Mr.  Gericke  had 
been,  by  Julius  Epstein,  he  had  the  further  en- 
dorsement of  Otto  Dresel. 

I  had  known  about  Mr.  Nikisch   [Mr.  Higginson 

^55 


BOSTON  SYMPHONY  ORCHESTRA 

has  written]  from  my  Viennese  friends,  and  was  quite 
aware  of  his  high  quaHty.  He  came  in  the  autumn  of 
1889,  and  immediately  took  up  his  work  with  great 
energy.  He  was,  I  think,  surprised  to  find  how  good 
the  Orchestra  was  ;  .  .  .  but  he  put  into  it  all  his  power, 
passion,  and  wonderful  skill  in  producing  results,  and 
he  gave  us  very  different  effects  from  Mr.  Gericke. 
He  was  a  man  of  real  genius. 

It  was,  indeed,  in  Mr.  Parker's  term,  the  ro- 
mantic period  in  the  progress  of  the  Orchestra 
which  Mr.  Nikisch  instituted.  When  he  reached 
America  in  the  autumn  of  1889  there  was  en- 
countered, to  be  sure,  an  episode  far  from  roman- 
tic. This  was  a  challenge  to  his  landing  made  by 
the  Musicians'  Protective  Union,  on  the  ground 
that  his  admission  to  the  United  States  was  a 
violation  of  the  Contract  Labor  Law.  The  ob- 
jection was  not  effective.  And  at  this  point  it 
may  be  said,  as  well  as  elsewhere,  that  in  the 
subsequent  years  many  questions  regarding  the 
relations  between  the  Orchestra  and  the  "  organ- 
ized labor  "  of  musicians  have  had  to  be  met.  It 
were  idle  to  open  a  discussion  of  the  part  to  be 
played  by  the  application  of  the  "  closed  shop  " 
principle  to  workers  in  such  an  art  as  music.  The 

156 


SERVICE  OF  NIKISCH  AND  PAUR 

arguments  in  favor  of  "unionizing"  might  be 
presented,  and  debated.  For  the  present  purpose 
of  record  concerning  the  Boston  Symphony  Or- 
chestra, it  is  enough  to  bring  forward  a  recent 
expression  on  the  subject  by  Mr.  Higginson:  — 

We  have  had  [he  says]  to  meet  the  chief  of  the 
Musicians'  Union,  and  to  discuss  its  affairs  with  him. 
The  Union  specifies  in  a  way  the  number  of  rehearsals, 
the  pay  for  the  musicians,  the  number  of  concerts,  etc., 
and  interferes  with  the  engagement  or  dismissal  of  men. 
As  I  hold  that  all  these  points  are  very  important  for 
the  good  of  the  Orchestra  and  must  rest  with  me  or 
with  my  conductor,  I  see  no  need  or  use  for  the  Union. 
We  pay  more,  ask  entire  control  of  the  men,  and  see 
to  it  that  they  are  well  paid,  have  pensions,  and  also 
get  outside  work  if  possible ;  therefore  the  Union  can- 
not benefit  them.  We  can  keep  the  Orchestra  at  its 
present  level  or  even  higher  only  by  asking  such  work 
as  our  conductor  thinks  essential,  and  sometimes  the 
rehearsals  mount  very  high,  even  to  thirteen.  On  no 
other  terms  can  I  go  on  and  pay  a  large  subsidy,  and 
not  control  —  all  this  for  the  sake  of  art. 

But  to  return  abruptly  to  the  romantic  element 
associated  with  Mr.  Nikisch's  conductorship  — 
there  can  be  no  doubt  that  a  pronounced  person- 
ality of  poetic  quality,  contributed  much — after 
the  fashion  established  in  Mr.  Henschel's  time  — 


BOSTON  SYMPHONY  ORCHESTRA 

to  the  public  interest  in  the  new  conductor.  His 
hands,  his  hair,  his  bearing  and  manner  —  all 
his  personal  attributes,  became  at  once  the  sub- 
jects of  written  and  spoken  comment.  All  of 
it  might  now  be  dismissed  as  an  impertinence 
were  it  not  for  the  fact,  sometimes  exhibited  in 
persons  whose  work  brings  them  conspicuously 
before  the  public  eye,  that  seeming  and  being  are 
often  more  closely  related  than  we  are  disposed 
to  think  them.  The  analogy  between  the  outward 
and  inward  impression  produced  by  Mr.  Nikisch 
and  his  work  was  remarkably  close.  Again  the 
"temperamental,"  the  "artistic,"  prevailed;  but 
now  it  had  to  deal  with  a  body  of  players  much 
more  highly  trained  than  the  Orchestra  was  under 
its  first  conductor  or  could  have  become  under 
any  discipline  less  severe  and  intelligent  than  that 
which  Mr.  Gericke  had  given  it.  It  is  credibly 
reported  that  when  Mr.  Nikisch  first  heard  the 
Orchestra,  the  technical  beauty  of  its  perform- 
ance led  him  to  exclaim :  "  All  I  have  to  do  is  to 
poetize ! "  The  results  were  inevitably  telling. 
Of  course  there  were  those  who  delighted  in  the 
unfamiliar  beauties  of  orchestral  sound,  the  more 

158 


SERVICE  OF  NIKISCH  AND  PAUR 

poetic  and  emotional  performances,  for  which 
Mr.  Nikisch  was  responsible.  Of  course  there 
were  those  who  preferred  the  less  exciting  ways 
for  which  Mr.  J.  S.  Dwight  spoke  when,  writing 
in  the  "  Transcript,"  not  of  conductors,  but  of 
modern  music  in  general,  he  said :  — 

You  may  tell  us  that  we  are  behind  the  age.  It  may 
be,  and  so  be  it!  This  modern  tendency  in  music  is  per- 
haps part  and  parcel  of  the  whole  fast  tendency  of  our 
time.  Perhaps  it  is  a  corresponding  manifestation  of 
what  appears  in  the  craze  of  "  rapid  transit,"  the  im- 
patient meddling  with  electricity,  the  building  skyward 
where  ground  area  is  limited,  and  a  thousand  more 
ambitious  schemes  (especially  among  political  adven- 
turers) to  "hurry  God!"  Yet  we  cannot  help  believing 
that  the  soul  of  man  enjoys  a  sweeter  consciousness  in 
leading  a  more  simple,  quiet,  temperate,  abstemious, 
intellectual,  self-respecting,  mutually  helpful  life. 

The  musical  peace  thus  eloquently  urged  was 
hardly  compatible  with  such  a  pouring  of  new 
wine  into  old  bottles  as  Mr.  Nikisch  achieved. 
Under  the  stimulus  of  the  fresh  spirit  which  he 
imparted  to  the  playing  of  the  Orchestra,  the 
public,  always  responsive  to  personality,  was  quite 
as  much  exercised  over  the  conductor  as  over  the 
music  he  produced.   "The  conductor  cult,"  said 

159 


BOSTON  SYMPHONY  ORCHESTRA 

a  New  York  critic  several  years  after,  "is  a 
phase  of  social  activity  which  flourishes  only  in 
Boston";  and  to  this  observer  it  was  manifest 
that  "the  existence  of  a  conductor's  party,  by 
the  same  token,  presupposes  the  existence  of  an 
opposition."  Thus  it  was,  according  to  a  local 
commentator  on  musical  matters,  that  for  a  time 
the  regular  morning  salutation  of  Bostonians  was, 
"  Well,  what  do  you  think  of  Nikisch  ? ' '  An  eva- 
sive reply  gave  rise  to  suspicions  or  something 
worse.  "The  craze,  however,  abated,"  —  it  was 
said, — "and  at  the  end  of  the  season  it  was  possi- 
ble to  gently  criticise  the  new  conductor  without 
running  the  risk  of  being  stoned  to  death  in 
Hamilton  Place  by  infuriated  buyers  of  season 
tickets." 

At  the  beginning  of  Mr.  Nikisch*s  first  season 
there  were  many  comments  upon  his  practice  of 
conducting  without  a  score.  When  this  became 
less  frequent  it  could  hardly  have  been  because 
the  practice  was  criticised,  for  Mr.  Nikisch  was 
said  to  leave  all  criticisms  unread.  If  he  had 
followed  them  he  would  have  found  much  praise 
of  increased  catholicity  in  the  making  of  pro- 

i6o 


SERVICE  OF  NIKISCH  AND  PAUR 

grammes,  and  of  his  conductorship  in  general. 
At  the  same  time  he  would  have  found  com- 
plaints of  deterioration  in  the  work  of  the  Orches- 
tra, ascribed  to  a  less  rigid  discipline  than  that  of 
his  predecessor.  It  is  certainly  to  be  said,  how- 
ever, that  Mr.  Gericke's  work  had  carried  the 
players  so  far  toward  a  mastery  of  their  collective 
effort,  and  his  changes  in  personnel  had  brought 
together  so  many  artists  of  individual  excellence, 
that  even  the  severest  taskmaster  might  well  have 
thought  the  time  had  come  for  some  relaxation 
of  the  rigidities.  At  least  there  was  no  necessity 
for  further  important  changes  in  the  make-up 
of  the  Orchestra.  The  few  men  who  left  it 
henceforth  did  so  chiefly  by  choice,  or  for  such 
reasons  as  that  of  the  horn-player  who  quitted 
Orchestra  and  wife  together,  saying:  "She  is  a 
sparrow  and  I  am  an  eagle."  From  first  to  last 
there  have  been  the  difficulties  inseparable  from 
dealing  with  a  large  body  of  men,  each  equipped 
with  his  special  variety  of  artistic  temperament. 
If  all  the  stories  of  its  manifestations  could  be 
told,  the  record  would  enrich  the  annals  of  amaz- 
ing human  nature. 

i6i 


BOSTON  SYMPHONY  ORCHESTRA 

In  other  cities  than  Boston  the  Orchestra  under 
Mr.  Nikisch  established  itself  more  firmly  than 
ever  in  public  favor.  During  his  final  season, 
1892-93,  the  reports  of  "standing-room  only" 
in  New  York,  Philadelphia,  and  Baltimore  pro- 
vided an  encouraging  index  of  the  success  of 
the  Southern  trips.  At  the  first  Philadelphia  con- 
cert of  this  season,  the  audience  numbered  3,000, 
of  whom  700  were  obliged  to  stand.  For  three 
years  Mr.  Nikisch  and  the  Orchestra  followed 
the  practice,  established  under  Mr.  Gericke,  of 
giving  concerts  in  many  Western  cities,  with  re- 
sults parallel  to  those  achieved  in  the  Middle 
and  Southern  States.  Unhappily  in  the  fourth 
year,  1893,  when  the  Orchestra  gave  two  con- 
certs at  the  World's  Fair  in  Chicago,  the  tournee 
was  made  without  the  conductor,  in  whose  place 
Mr.  Kneisel  appeared.  It  is  an  ironic  circumstance 
that  the  occasion  of  Mr.  Nikisch's  separation 
from  the  Orchestra  was  so  closely  related  to  the 
very  element  of  his  work  in  which  he  achieved 
a  conspicuous  success,  —  the  conducting  of  con- 
certs outside  of  Boston.  There  is  no  necessity  of 
going  into  the  details  of  the  misunderstanding 

162 


SERVICE  OF  NIKISCH  AND  PAUR 

through  which  his  contract  with  the  Boston  Sym- 
phony Orchestra,  in  its  bearing  upon  the  Western 
concerts,  was  viewed  in  a  different  Hght  by  himself 
and  by  the  management  of  the  organization.  It 
is  enough  to  say  that  Mr.  Nikisch  had  received 
an  offer  to  become  Director-General  of  the  Royal 
Opera  at  Buda-Pesth,  that  what  was  expected  of 
him  in  America  led  to  a  considerable  divergence 
of  opinion  between  the  persons  chiefly  concerned, 
and  that  sacrifices  on  both  sides  were  made  in 
bringing  his  conductorship  of  the  Boston  Sym- 
phony Orchestra  to  an  end.  On  his  departure 
from  Boston  in  the  spring  of  1893  ^  Boston 
critic,  wishing  him  all  success  as  a  Hungarian 
conducting  opera  in  a  Hungarian  town  to  the 
delight  of  a  Hungarian  audience,  exclaimed, 
"  May  his  life,  then,  be  one  prolonged  Hungarian 
rhapsody!"  It  has  been  much  more  than  that, 
for  his  work  in  many  cities  of  the  Continent 
and  in  England  has  placed  him  firmly  in  the 
first  rank  of  orchestral  conductors.  Another  local 
writer,  summarizing  the  merits  and  defects  of 
his  conductorship  in  Boston,  brought  his  estimate 
to  a  conclusion  with  the  expression:   "When  at 

163 


BOSTON  SYMPHONY  ORCHESTRA 

his  best,  he  was  simply  glorious."  It  avails  noth- 
ing to  speculate  upon  what  his  longer  continu- 
ance in  Boston  would  have  achieved.  In  a  total 
view  of  the  progress  of  the  Orchestra,  the  four 
years  associated  with  the  name  of  Arthur  Nikisch 
constitute  a  brilliant  and  stimulating  period. 

Before  passing  to  the  next  stage  in  the  devel- 
opment of  the  Orchestra  through  its  successive 
conductors,  the  beginning  of  a  movement  under- 
taken in  the  summer  of  1893  "^^st  be  related. 
This  was  the  project  of  a  new  home  for  the  Or- 
chestra, to  take  the  place  of  Music  Hall.  It  was 
manifestly  a  case  of  what  Dr.  Holmes,  when 
his  birthplace  in  Cambridge  was  destroyed, 
called  "justifiable  domicide."  As  the  time  had 
come,  nine  years  before,  when  the  interests  of 
the  Orchestra  required  the  removal  of  the  Great 
Organ,  so  in  1893  it  appeared  that  Music  Hall 
itself,  for  more  than  forty  years  the  shrine  of  all 
that  was  held  most  dear  in  the  older  musical 
Boston,  must  be  abandoned.  The  fear  of  a  disas- 
trous fire  was  never  absent  from  the  minds  of 
those  responsible  for  bringing  together  the  great 
audiences  which  filled  the  ill-placed  building. 

164 


SERVICE  OF  NIKISCH  AND  PAUR 

Its  ventilation  was  a  constant  problem,  —  if  air 
was  admitted  there  was  invariably  too  much  of 
it.  "It  is  thoroughly  in  harmony  with  the  char- 
acter of  the  concerts,"  said  a  newspaper  writer 
in  the  earlier  day  of  Mr.  Gericke,  "that  they 
take  place  in  the  breeziest  and  draughtiest  hall 
in  the  universe.  The  native  Bostonian,  pure  and 
simple,  is  accustomed  to  high  winds  from  his 
earliest  hours,  but  custom  and  experience  fail  to 
harden  him  in  them  unless  he  has  the  skin  of  an 
elephant.  He  dreads  the  insidious  little  draughts 
that  rush  about  toying  with  the  top  of  his  bald 
head,  and  which  run  down  his  neck  when  least 
expected,  whenever  he  goes  to  Music  Hall.  It  is 
more  than  he  can  endure  to  be  fanned  by  opening 
doors  half  the  evening,  and  the  remainder  kept 
cool  by  opened  ventilators,  or  spiteful  little  cracks 
that  let  in  whiffs  of  air  labelled  neuralgia  and  rheu- 
matism, all  ready  to  be  taken.  But  he  goes  week 
after  week  all  the  same,  in  spite  of  the  influenza, 
in  spite  of  the  hot  needle  boring  into  his  temple, 
because  it  is  the  fashion."  And  he  might  have 
continued  to  go  indefinitely  but  for  a  city  project, 
made  in  connection  with  the  extensive  plans  for 

165 


BOSTON  SYMPHONY  ORCHESTRA 

rapid  transit  then  under  discussion,  to  lay  out 
a  street  parallel  to  Tremont  and  Washington 
Streets,  and  between  them,  which  would  necessi- 
tate the  removal  of  Music  Hall.  With  every  rea- 
son to  believe  that  the  plan  would  be  carried  out, 
and  with  every  incentive  to  seize  the  first  occa- 
sion for  leaving  the  unsatisfactory  Music  Hall, 
Mr.  Higginson  made  it  known  that  unless  the 
Boston  public  cared  enough  for  the  symphony 
concerts  to  provide  a  proper  building  for  their 
continuance,  they  would  have  to  cease.  There 
were  "croakers,"  then  as  always.  One  of  them 
wrote  to  the  "Transcript,"  saying  :  — 


MONEY    TALKS 


'To  the  Editor  of  the  Transcript :  —  Will  you  give 
an  old  croaker  space  for  a  few  lines  on  a  matter  of 
passing  general  interest  —  the  imminent  danger  of  los- 
ing the  Symphony  Orchestra.  "Thank  heaven,"  said  an 
eminent  writer  when  told  of  Mrs.  Browning's  death, 
"  there  will  be  no  more  Aurora  Leighs."  The  old 
Music  Hall  is  to  go.  Thank  heaven,  say  I,  there  will 
be  no  more  symphony  concerts.  I  am  tired  of  being 
tugged  around  by  Mrs.  Grundy  to  the  old  hall.  I  al- 
ways said  to  my  family  that  this  adoration  of  classical 
music  was  in  large  part  affectation.  And  here  comes  a 
card  from  the  founder  of  the  Orchestra  in  the  morning 

i66 


SERVICE  OF  NIKISCH  AND  PAUR 

papers  which  proves  me  right.  For  this  adoration  does 
not  yet  go  far  enough  to  induce  the  lovers  to  provide 
a  home  for  their  beloved.  And  yet  I  have  never  been 
to  one  of  the  old  symphony  concerts  when  it  was  not 
possible  to  count  up  the  wealth  of  one's  neighbors  to, 
in  the  aggregate,  forty  millions.  Pons. 

Yet  the  views  of  "  Pons"  did  not  prevail. 
Various  friends  of  the  concerts  took  the  matter 
in  hand,  subscribing  to  the  fund  of  $400,000 
which  was  thought  sufficient  for  the  enterprise, 
and  urging  it,  in  the  following  terms,  upon  the 
general  public :  — 

We  think  that  the  appeal  for  a  new  hall  for  music 
in  Boston  is  just,  and  we  urge  upon  our  fellow-citizens 
the  necessity  for  prompt  action.  Boston  is  to  lose  its 
Music  Hall,  and  must,  in  justice  to  its  high  name  for 
devotion  to  education  and  to  art,  replace  this  old  hall 
with  a  new  and  better  one.  The  choral  societies  must 
have  a  good  home  or  fade  away,  and  the  Symphony 
Orchestra,  which  has  been  called  into  existence  by  the 
long,  hard  work  of  so  many  men,  which  represents  the 
expenditure  of  $250,000  voluntarily  given  by  Mr.  Hig- 
ginson,  in  addition  to  the  receipts  from  tickets,  and 
which  is  now  fully  equipped  for  the  best  kind  of  service 
to  a  large  and  excellent  public,  must  very  soon  disband 
unless  a  home  for  it  is  assured. 

We  are  aware  that  this  is  a  bad  time  to  start  such  an 
undertaking,  but  circumstances  force  it  upon  us.    We 

167 


BOSTON  SYMPHONY  ORCHESTRA 

cannot  allow  Boston  to  lose  its  prestige  in  these  matters 
without  an  effort  to  save  it. 

It  is  proposed  to  organize  a  corporation  with  a  capi- 
tal of  $400,000,  divided  into  4,000  shares  of  $100 
each. 

It  is  most  important  that  this  money  should  be  as- 
sured without  delay,  although  it  will  not  be  wanted  for 
a  number  of  months ;  and  it  is  to  be  hoped  that  every- 
body will  take  stock  according  to  his  means. 

Subscriptions  may  be  sent  to  T.  Dennie  Boardman, 
Ames  Building,  Boston. 

Signed :  Martin  Brimmer,  Henry  Cabot  Lodge, 
William  E.  Russell,  Patrick  Donohoe,  Charles  W. 
Eliot,  Mrs.  Louis  Agassiz,  Miss  Alice  Longfellow, 
John  D.  Long,  Eben  Jordan,  Matthew  Luce,  Lesly 
A.  Johnson,  George  O.  Shattuck,  Solomon  Lincoln, 
J.  K.  Paine,  Charles  Eliot  Norton,  Henry  S.  Grew, 
George  Wheatland,  C.  L.  Peirson,  F.  Haven,  Jr.,  John 
L.  Gardner,  John  Lowell,  Oliver  H.  Durrell,  N.  W. 
Rice,  Thomas  E.  Proctor,  Barthold  Schlesinger,  Roger 
Wolcott,  Mrs.  Henry  Whitman,  A.  Shuman  &  Co., 
Walter  T.  Winslow,  Henry  M.Whitney,  Miss  Paul- 
ine Shaw,  Mrs.  George  Tyson,  George  C.  Lee,  Robert 
Bacon,  Mrs.  Samuel  T.  Morse,  Miss  Frances  R.  Morse, 
Charles  F.  Choate,  R.  H.  White,  George  F.  Fabyan, 
David  P.  Kimball,  E.  Winchester  Donald,  S.  Endicott 
Peabody,  N.  W.  Jordan,  C.  A.  Coffin,  F.  G.  Webster, 
William  L.  Chase,  George  A.  Gordon,  S.  Lothrop 
Thorndike,  Francis  H.  Manning,  Henry  Parkman, 
Henry  L.  Morse,  John  W.  Elliot. 

Boston,  June  21,  1893. 

168 


SERVICE  OF  NIKISCH  AND  PAUR 

Nearly  a  month  later,  Mr.  Higginson  himself 
addressed  the  local  public  through  the  following 
letter :  — 

Boston,  July  20  (1893). 

To  the  Editor  of  the  Transcript:  —  In  order  to  avoid 
any  mistake  in  the  minds  of  the  public  as  to  the  new 
hall  for  music,  of  which  you  have  so  kindly  spoken 
during  the  past  week,  and  of  my  relation  to  it,  I  ask 
leave  to  make  the  following  statement :  — 

I  must  engage  a  conductor  for  the  Boston  Symphony 
Orchestra,  if  at  all,  for  five  years,  and  musicians  for  one 
or  more  years,  and  before  doing  this  we  must  be  sure 
of  a  hall  in  which  to  play.  Still  further,  these  engage- 
ments must  be  made  at  once,  as  the  musicians  can- 
not wait  longer.  In  all  probability  the  present  Music 
Hall  will  be  taken  by  the  city  within  a  year  for  the 
new  street,  and  in  any  case  it  cannot  be  relied  on  for 
more  than  one  season.  There  is  no  other  hall  in  Bos- 
ton which  would  fill  the  place  of  Music  Hall  for  large 
concerts. 

It  has  been  a  great  pleasure  for  the  past  twelve  years 
to  plan  for,  to  work  for,  and  to  support  the  Symphony 
Orchestra,  which  is  the  outcome  of  much  artistic  skill, 
knowledge,  and  long  persistent  work  on  the  part  of  the 
musicians.  No  good  orchestra  can  be  got  in  any  other 
way.  I  shall  gladly  carry  on  my  work  as  regards  the 
Orchestra  if  a  good  hall  be  provided  for  it,  but  only  on 
that  condition. 

The  Orchestra  has  this  year  reached  a  self-support- 
ing stage,  which  it  may  or  may  not  keep,  for  there  is 
always  a  considerable  risk  each  year  as  to  the  receipts. 

169 


BOSTON  SYMPHONY  ORCHESTRA 

During  these  past  years  the  total  deficit  has  been  large; 
but  the  expenses  must  always  be  met,  and  this  risk 
falls  on  me  and  may  be  fairly  considered  my  share. 

May  I  suggest  that  a  new  hall  can  readily  and  with- 
out much  greater  expense  be  built  so  as  to  be  used  for 
opera,  and  thus  command  a  larger  rental ;  it  may  well 
have  open  boxes,  as  in  the  Carnegie  Hall  in  New  York, 
and  seats  of  various  grades  and  at  different  prices.  At 
the  present  time  it  is  very  difficult  to  get  any  theatre 
in  Boston  for  opera,  or  other  large  occasional  enter- 
tainments. 

Every  considerable  city  in  our  country  has  some 
such  hall,  and  it  is  for  the  citizens  of  Boston  and  its 
neighborhood  to  decide  whether  they  care  enough  for 
music  in  its  different  forms  to  build  this  hall,  and  for 
them  to  decide  at  once  if  they  wish  to  keep  the  Or- 
chestra. Money  will  be  wanted  for  the  building  later 
in  the  year,  but  the  promise  of  it  is  needed  now. 

The  building  must  be  ready  for  use,  so  far  as  the 
Boston  Symphony  Orchestra  is  concerned,  in  October, 
1894. 

To  sum  up :  the  public  may  be  sure  that  to  make  a 
good  orchestra,  much  work,  much  time,  and  much  ex- 
pense are  required.  All  these  elements  have  been  con- 
tributed, and  we  have  the  Orchestra  as  it  now  stands. 
Shall  we  keep  it,  or  lose  it  for  want  of  a  proper  hall  ? 
The  decision  cannot  be  postponed  beyond  a  few  days. 
Unless  within  that  time  a  new  hall  is  assured,  I  must 
disband  the  Orchestra  and  finally  abandon  the  sym- 
phony concerts. 

Henry  L.   Higginson. 


170 


SERVICE  OF  NIKISCH  AND  PAUR 

The  response  of  the  public,  substantially  em- 
bodied in  Symphony  Hall,  has  long  been  visible  at 
the  corner  of  Massachusetts  and  Huntington  Ave- 
nues. Its  completion  was  deferred  for  seven  years, 
not  only  because  the  city  plans  for  the  new  street 
were  abandoned,  but  also  because  a  period  of  busi- 
ness depression  laid  its  delaying  hand  upon  this 
and  many  other  projects.  The  idea  of  making  a 
concert  hall  which  might  be  adequate  to  the 
purposes  of  opera  was  also  dropped.  It  was  impos- 
sible to  adopt  all  the  suggestions  of  sites  for  the 
new  hall.  Now  that  there  are  more  buildings  in 
Boston  than  there  were  in  1893,  ^^  ^^  interesting 
to  learn  that  among  the  positions  advocated  were 
those  at  present  occupied  by  the  Boston  Public 
Library,  the  Union  Boat  Club,  and  —  partially 
—  by  the  Harvard  Club  of  Boston.  Whether  one 
or  another  of  these  sites  would  have  suited  the 
public  better  than  the  place  that  was  chosen, 
whether  the  stockholders  of  the  new  corporation 
would  have  done  well  to  heed  a  protest  issued 
against  accepting  plans  which  ignored  the  needs 
of  opera  and,  in  the  view  of  the  protestant,  fell 
short  in  many  other  respects  of  their  possibilities, 

171 


BOSTON  SYMPHONY  ORCHESTRA 

it  was  announced  as  early  as  November,  1893, 
that  the  firm  of  McKim,  Mead  &  White  had 
begun  their  designs  for  the  new  building.  The 
completion  of  their  work  remains  to  be  chronicled 
at  a  later  point  in  this  narrative. 

When  it  became  known  that  the  fourth  season 
of  Mr.  Nikisch's  conductorship  was  to  be  his  last, 
the  choice  of  a  successor  became  the  pressing 
matter  it  has  periodically  been.  A  humorous 
view  of  the  situation  was  taken  by  a  correspond- 
ent of  the  "Transcript "  who  wrote:  — 


NOW    FOR    THE    CORRECT    THING 


'To  the  Editor  of  the  Transcript :  —  In  view  of  the 
reported  resignation  of  Mr.  Nikisch  from  the  charge 
of  the  Symphony  Orchestra,  permit  me  to  offer  the  fol- 
lowing suggestion  for  the  future  conduct  of  the  con- 
certs :  — 

Instead  of  importing  some  obscure  German  musician, 
possibly  brought  up  under  the  influence  of  a  Wagner, 
Von  Billow,  or  Richter,  and  saturated  with  the  musical 
traditions  of  an  effete  European  civilization,  let  the 
concerts  be  conducted  in  turn  by  our  various  local 
music  critics,  both  the  regularly  constituted  and  the 
self-appointed  ones.  It  is  safe  to  say  we  shall  at  last 
have  an  exact  musical  embodiment  of  the  ideas  of 
Beethoven,  Haydn,  Mozart,  and  Mendelssohn.  We 
shall  hear,  for  the  first  time,  everything  played  in  the 

172 


SERVICE  OF  NIKISCH  AND  PAUR 

exact  tempi  intended  by  the  composer  (heretofore  only 
known  to  himself  and  the  critics),  and  shall  learn  the 
true  value  of  a  thirty-second  note  as  differentiated  from 
a  dotted  sixty-fourth.  Add  to  this,  for  the  supervision 
of  the  programmes,  a  committee  composed  of  those 
persons  who  know  exactly  what  a  symphony  pro- 
gramme should  be,  and  it  seems  certain  that  at  length 
the  efforts  of  our  estimable  fellow-citizen,  Mr.  Higgin- 
son,  to  provide  Boston  with  orchestral  performances 
of  the  highest  grade,  will  be  crowned  with  full  suc- 
cess. X. 

So  exciting  an  experiment  could  be  made  only 
in  the  domain  of  fancy.  The  practical  dealing 
with  the  problem  was  accomplished  through 
sending  a  friend  of  Mr.  Higginson's  to  Europe 
in  search  of  the  best  conductor  to  be  found. 
Hans  Richter,  director  of  the  Imperial  Orchestra 
at  the  Court  Opera  House  of  Vienna,  standing  at 
the  very  top  of  his  profession,  seemed  obviously 
the  man;  and  negotiations  with  him  were  carried 
so  far  that  he  went  to  Dresden  and  signed  a  con- 
tract as  conductor  of  the  Boston  Symphony  Or- 
chestra. Unfortunately,  he  was  already  under  con- 
tract to  remain  in  Vienna,  and,  from  the  printed 
accounts  of  the  matter,  it  appears  to  have  been 
inevitable  that  one  agreement  or  the  other  must 

173 


BOSTON  SYMPHONY  ORCHESTRA 

be  broken.  It  is  no  wonder  that  the  opposition 
to  his  leaving  Vienna  was  strong.  The  Emperor 
himself  took  part  in  it,  with  the  result  that  it 
became  necessary  to  look  elsewhere  for  the  new 
director.  Emil  Paur,  born  August  29,  1855,  at 
Czernowitz,  Bukowina,  was  established  in  Leip- 
zig as  the  successor  of  Arthur  Nikisch  at  the 
Stadt  Theater.  His  reputation  of  high  acquire- 
ments as  an  orchestral  conductor  gave  promise 
of  notable  results  in  the  Boston  position,  and  the 
promise  was  fulfilled.  "  Mr.  Paur  came  here," 
Mr.  Higginson  has  written,  "  and  began  his  years 
with  much  energy  and  power,  gave  us  excellent 
concerts,  and  had  his  own  way  of  producing 
music.  He  was  very  energetic,  very  ambitious, 
and  altogether  pleased  the  audiences.''  In  a  lan- 
guage not  his  own  Mr.  Paur  has  expressed  him- 
self—  for  the  pages  of  this  book  —  regarding  his 
Boston  experience,  with  a  warmth  of  feeling 
which  gives  his  words  a  peculiar  value :  — 

At  the  year  1893,  I  was  asked  to  accept  the  position 
as  Director  of  the  Boston  Orchestra.  At  that  time  not 
very  much  was  known  about  this  Orchestra  in  Ger- 
many. With  great  difficulty  I  got  my  release  of  the 
Leipzig   Opera   House,  where  I  was  still  bound  by 


SERVICE  OF  NIKISCH  AND  PAUR 

contract,  to  be  able  to  accept  the  conductorship  in 
Boston. 

Great  was  my  delighted  surprise  and  astonishment 
when  I  heard  the  Boston  men  at  my  first  rehearsal !  I 
found  an  excellent  assembly  of  musicians  of  the  first 
rank  who  did  not  play  only  to  do  their  duty  and  satisfy 
the  conductor  and  audience;  they  played  in  the  heart 
and  soul,  joy  and  enthusiasm,  inclined  always  to  give 
their  very  best  and  cooperate  with  the  conductor  to 
reach  the  highest  possible  perfection.  It  is  the  best  or- 
chestra in  the  world,  that  was  my  conviction  which  I 
had  when  I  started  my  work  in  Boston,  and  which  con- 
viction has  not  changed  since  then. 

The  institution  of  the  Boston  Symphony  Orchestra 
is  "unique."  In  the  whole  world,  one  could  not  find  a 
man  who  would  spend  a  great  fortune  to  educate  the 
people  of  a  great  country  musically,  in  founding  an 
orchestra  equipped  with  the  best  musicians  to  be  had, 
under  the  leadership  of  an  unsurpassed  manager  and  a 
best-known  musical  conductor.  The  reason  why  the 
Boston  Orchestra  plays  better  than  all  other  existing 
orchestras  is  —  besides  the  excellent  qualities  of  the 
men  —  the  comfortable  living  the  men  are  able  to  en- 
joy. They  all  are  paid  better  than  anywhere  else,  con- 
sequently they  have  no  sorrow  of  provisions  ;  they  feel 
free,  satisfied,  happy,  not  overworked,  and  the  result  is 
joy,  enthusiasm,  and  perfection  in  their  work.  There 
are  other  wisest  points  in  the  rules  set  by  the  founder 
of  the  Boston  Orchestra,  which  brought  the  institution 
to  the  best  in  the  world.  The  most  important  and 
wisest  one  is  the  absolute  power  given  to  the  manager, 

^75 


BOSTON  SYMPHONY  ORCHESTRA 

in  all  business  matters,  and  to  the  conductor  in  all 
artistic,  musical  matters,  both  only  responsible  to  the 
owner  of  the  Orchestra. 

The  response  of  the  people  in  the  period  of  my  con- 
ductorship,  1893-98,  was,  in  spite  of  the  very  bad 
business  time,  growing  from  year  to  year  in  regard  to 
attendance  and  understanding.  It  was  a  great  delight 
to  me  to  see  and  feel  the  rise  of  true  and  warm  love 
and  enthusiasm  for  great  masters  like  Brahms,  Liszt, 
Wagner,  Tschaykowski,  R.  Strauss,  and  others.  In  the 
first  years  of  the  existence  of  the  Orchestra  it  was 
necessary  to  engage  great  soloists  for  the  concerts  to 
attract  the  people ;  my  predecessor  and  I  began  to  re- 
duce the  number  of  concerts  with  soloists  every  year 
more  and  more,  and  it  proved  to  be  right. 

The  people  nowadays  fill  the  concerts  of  the  Sym- 
phony Orchestra,  not  on  account  of  the  soloist,  but 
only  on  account  of  the  masterful  playing  of  great  musi- 
cal works.  The  people  in  Boston  know  what  they  have, 
and  love  and  appreciate  gratefully  the  ideal  thing  which 
Major  Higginson  has  nobly  given  them.  The  wonder- 
ful institution  means  an  everlasting  monument  to  the 
unselfish  founder,  who  not  even  wanted  to  have  his 
name  publicly  connected  with  his  great  institution. 

The  five  years  I  have  spent  in  Boston  count  to  the 
happiest  years  of  my  life.  I  never  will  and  never  could 
forget  my  days  in  Boston,  thanks  to  the  highly  ad- 
mired Major  Higginson,  the  Bostonians,  and  the 
wonderful  Boston  Orchestra. 

In  contrasting  the  conductorship  of  Mr.  Paur 

176 


SERVICE  OF  NIKISCH  AND  PAUR 

with  that  of  Mr.  Nikisch,  Mr.  Parker,  of  the 
"Transcript,"  has  well  said  :  "Mr.  Paur,  in  turn, 
flavored  the  concerts  with  a  personality  that  was 
different,  indeed,  but  that  was  still  vivid,  a  per- 
sonality that  equally  made  its  immediate  effect 
upon  the  music,  the  Orchestra,  and  its  hearers. 
Mr.  Nikisch  had  the  diversity,  the  unexpected- 
ness of  the  romantic  temperament.  Mr.  Paur  had 
the  concentration  of  an  unvarying  intensity.  .  .  . 
He  sought  the  utmost  in  all  things."  His  imme- 
diate reception  at  the  hands,  both  of  the  local 
critics  and  of  those  who  came  from  New  York 
to  attend  his  first  concert,  was  genuinely  cordial. 
His  concerts  away  from  Boston  were  given  in 
crowded  halls  to  enthusiastic  audiences.  The 
""bad  times"  which  delayed  the  building  of 
Symphony  Hall  caused  also  the  abandonment  of 
Western  journeys,  and  for  some  years  they  were 
not  resumed.  His  intensity,  therefore,  —  even 
more  than  the  other  qualities  of  other  conductors, 
—  was  most  familiar  nearest  home.  A  warm  ad- 
mirer has  described  him  as  a  poet,  bringing  great 
things  to  pass  through  his  instinct  for  the  beautiful. 
It  was  a  definition  that  had  the  truth  behind  it. 

177 


BOSTON  SYMPHONY  ORCHESTRA 

The  great  things  which  he  brought  to  pass  were 
those  which  consorted  best  with  the  qualities  rep- 
resented in  his  very  personality  —  a  large  Teu- 
tonic sincerity  and  robustness.  The  polish  and  the 
subtleties  sought  and  wrought  by  his  two  prede- 
cessors was  less  attainable  at  his  hands  than  a  vigor 
and  largeness  hitherto  unknown.  As  Kipling's 
experimentalist  in  the  feminine  realm  sang  of 
each  of  his  loves  in  turn,  "  I  learned  about 
women  from  her,"  the  Orchestra,  constantly 
gaining  in  experience,  learned  from  Mr.  Paur 
something  about  music  and  its  production  which 
he  first  of  all  could  impart.  It  was  imparted 
sometimes  with  such  fervor  that  the  foot  was 
called  upon  to  supplement  the  baton. 

Mr.  Paur  [wrote  the  critic  of  the  "Journal"]  would 
certainly  be  horrified  if  he  knew  that  his  habit  disturbed 
any  one  prepared  to  admire  him.  The  habit,  if  uncon- 
scious, is  probably  confirmed.  Now  what  shall  be  done? 
.  .  .  Why  should  not  Mr.  Paur  be  presented  with  a 
pair  of  thick  fur  boots  with  felt  soles?  With  them  might 
be  given  a  subscription  list  of  "patrons  and  patronesses 
of  music  " ;  and  the  list  might  be  headed  with  the  motto, 
"Suaviter  in  modo"  or  "  Do  good  by  stealth."  Rubber 
boots  are  cheaper;  but  they  would  chafe  the  conductor 
in  his  more  impassioned  moments;  they  yield  an  un- 

178 


SERVICE  OF  NIKISCH  AND  PAUR 

savory  smell ;  they  have  a  cold,  wet  noise  of  their  own, 
even  when  they  are  perfectly  dry. 

So  ephemeral  a  bit  of  fooling  has  its  value  in 
suggesting  the  quality  and  measure  of  energy 
which  Mr.  Paur  brought  with  him  to  the  con- 
ductor's platform. 

He  brought  with  him  also  a  spirit  of  hospital- 
ity toward  the  newer  musical  ideas  which  carried 
definitely  forward  the  capacity  of  the  audiences 
to  recognize  and  enjoy  the  unfamiliar.  This  was 
especially  true  with  regard  to  Richard  Strauss, 
represented  on  the  programmes  before  Mr.  Paur's 
time  by  a  single  production  of  the  symphonic 
poem,  "In  Italy."  Brahms,  so  stoutly  resisted  in 
earlier  days,  seems  already  to  have  taken  his  place 
among  the  classics.  The  production  of  his  fourth 
symphony  on  April  i  o,  1896,  at  a  memorial  con- 
cert in  honor  of  the  great  German,  who  had  died 
a  week  earlier,  called  forth  even  from  one  of  the 
obdurate  critics  the  statement  that  "the  hearing 
of  this  striking  work  leads  one  to  hope  that  there 
may  yet  be  a  posthumous  symphony  found  among 
the  manuscripts  which  Brahms  left  behind  him." 

Throughout  the  five  years  of  Mr.  Paur's  en- 

179 


BOSTON  SYMPHONY  ORCHESTRA 

gagement  there  were  recurring  rumors  that  he 
would  not  return  to  Boston  for  the  season  next 
to  come.  His  popularity  in  New  York  and  else- 
where gave  ample  color  to  such  reports.  For  four 
years  they  were  premature.  As  the  fifth  was  pass- 
ing, it  became  known  that  his  conductorship 
would  not  extend  into  a  sixth.  Yet  so  late  as 
April  30,  1898,  when  his  last  concert  was  given, 
the  programme,  announcing  that  the  eighteenth 
season  of  the  Orchestra  would  begin  October  1 5, 
1898,  did  not  reveal  the  next  conductor's  name. 
The  audience  at  this  final  concert  under  Mr. 
Paur  paid  him  the  heartiest  tributes  of  apprecia- 
tion, and,  one  may  well  believe,  thought  some- 
what less  well  of  the  Orchestra  for  the  failure  of 
many  of  its  members  to  take  part  in  the  expres- 
sions of  good  will.  For  the  musical  public  at 
large  the  critic  of  the  "Journal"  spoke  a  repre- 
sentative word:  — 

Whether  Mr.  Paur  remains  or  leaves,  he  may  well  be 
satisfied  with  his  career  in  this  town.  As  musician  he 
has  been  faithfiil  and  effective.  Not  that  I  admire  him 
in  conducting  works  of  all  schools.  I  have  found  fault 
with  him  on  several  occasions  and  I  see  now  no  reason 
to  take  back  what  I   then  wrote.  On  the  other  hand, 

180 


SERVICE  OF  NIKISCH  AND  PAUR 

I  again  pay  glad  tribute  to  his  ability,  remembering  as 
I  do  performances  of  unparalleled  brilliance.  As  a  man 
he  has  proved  himself  worthy  of  all  admiration.  He 
has  not  wished  to  truckle,  fawn,  or  cringe.  He  has 
kept  steadily  before  him  his  duty  toward  his  public 
and  his  art.  Without  arrogance,  he  has  shown  himself 
a  man  as  well  as  a  musician. 

On  May  2,  two  days  after  Mr.  Paur's  last 
appearance  at  a  Boston  Symphony  concert,  it  was 
announced  that  Wilhelm  Gericke  would  return 
in  the  autumn  to  the  work  he  had  made  so  con- 
spicuously his  own. 


V 

THE   SECOND   TERM   OF   WILHELM   GERICKE 
1898-1906 

THE  preliminary  rumors  of  Mr.  Gericke's 
return  led  some  one  to  call  it  as  great  an 
experiment  as  the  marriage  of  a  widow  with  her 
first  love.  Yet  it  was  an  experiment  which  the 
public  was  heartily  glad  to  see  tried.  On  the  day 
after  his  engagement  for  the  season  of  1898—99 
was  announced,  the  "Transcript"  critic  said:  — 

The  news  that  Mr.  Wilhelm  Gericke  has  been  offered, 
and  has  accepted,  the  conductorship  of  the  Boston 
Symphony  Orchestra  for  next  season — and  probably 
for  longer,  though  of  this  there  is  as  yet  no  official 
statement — will  be  hailed  with  joy  by  many  a  music- 
lover  in  this  city. 

There  is  a  peculiar  fitness  in  Mr.  Gericke's  thus  re- 
turning to  a  position  he  occupied  with  such  honor  for 
five  years,  till  ill  health  resulting  from  overwork  forced 
him  unwillingly  to  give  it  up.  The  Symphony  Orches- 
tra is  really,  intrinsically,  his  orchestra;  he  made  it, 
and  it  properly  belongs  to  him,  as  his  own  work.  This 
is  an  important  point,  upon  which  no  little  stress  should 
be  laid.  Boston  learned  (or  might  have  learned)  a  les- 

182 


GERICKE'S  SECOND  TERM 

son  in  this  matter  a  little  while  ago,  when  Mr.  Theo- 
dore Thomas  came  here  with  his  Chicago  Orchestra. 
.  .  .  Now,  our  Symphony  Orchestra  is  as  much  Mr. 
Gericke's  as  the  Chicago  Orchestra  is  Mr.  Thomas's; 
he  formed  it,  built  it  up,  made  it  what  it  is;  what  it 
knows  (as  an  orchestra)  it  learned  from  him.  The  his- 
tory of  our  Symphony  Orchestra  has  been  a  peculiar 
one ;  neither  uninteresting  nor  uninstructive.  Mr.  Georg 
Henschel  conducted  for  the  first  three  years.  A  thor- 
ough musician,  with  a  certain  streak  of  genius  in  him, 
he  was  yet  an  inexperienced  conductor.  He  was,  how- 
ever, a  decidedly  magnetic  man,  born,  one  would  have 
thought,  to  sway  masses  of  men.  Indeed,  he  gave  such 
convincing  evidence  of  this  power,  when  he  conducted 
an  overture  of  his  own  at  one  of  the  symphony  con- 
certs of  the  Harvard  Musical  Association,  that  he  un- 
questionably owed  his  engagement  by  Mr.  Higginson 
to  this  display  of  it.  .  .  .  But  he  left  it  [the  Orchestra] 
in  pretty  much  the  condition  in  which  he  had  found  it. 
Then  came  Mr.  Gericke.  He  was  a  conductor  of 
long  experience  and  thorough  technical  equipment. 
Whatever  his  conception  of  Mr.  Higginson's  wishes 
may  have  been,  his  own  mind  was  unquestionably  made 
up  on  one  point  from  the  start :  that  he  would  conduct 
nothing  but  an  absolutely  first-class  orchestra.  Besides 
being  a  superb  conductor,  he  was  a  thoroughly  capable 
organizer.  He  first  tried  to  get  on  with  what  material 
had  been  left  him  by  Mr.  Henschel.  After  a  while  he 
found  that  it  would  not  do.  The  chief  trouble  was  not 
so  much  in  the  individual  incapacity  of  the  players  for 
good  work  as  in  the  fact  that  most  of  them,  especially 

183 


BOSTON  SYMPHONY  ORCHESTRA 

the  older  ones,  had  either  never  been  taught  or  had 
long  since  forgotten  the  art  of  obeying.  Mr.  Listemann, 
a  very  superior  artist  in  his  way,  was  a  man  of  too 
much  impulsive  initiative  to  follow  any  one's  beat  im- 
plicitly, and  most  of  the  rest  had  been  too  long  accus- 
tomed to  having  their  own  way  to  care  to  change  their 
habits.  Mr.  Gericke,  however,  firmly  intended  to  make 
himself  obeyed,  and  carried  out  this  intention  with  a 
pretty  high  hand.  The  personnel  of  the  orchestra  was 
changed  almost  throughout ;  old  players  were  dis- 
charged, or  resigned,  one  after  another,  and  their  places 
were  filled  by  younger  ones.  A  good  deal  of  talk  was 
made  at  the  time  about  "  un-American  autocratism  " 
and  "  unrepublican  one-man  power";  which  was,  on 
the  whole,  about  as  sensible  as  if  similar  objections  had 
been  raised  against  privates  in  the  army  being  made  to 
obey  superior  officers.  And  it  was  this  renewed  and 
obedient  orchestra  that  Mr.  Gericke  drilled  into  becom- 
ing one  of  the  greatest  orchestras  of  the  world. 

Next  came  Mr.  Arthur  Nikisch,  a  conductor  of  real 
genius,  a  magnetic  swayer  of  men.  Still,  under  him,  the 
Orchestra  remained  essentially  Mr.  Gericke's  ;  in  point 
of  technique  Mr.  Nikisch  taught  it  virtually  only  one 
thing :  to  obey  his  beat  at  a  moment's  notice.  At 
rehearsals  this  was  about  the  only  technical  point  he 
insisted  upon ;  what  else  in  technique  the  men  had  re- 
mained what  Mr.  Gericke  had  taught  them.  Mr.  Nik- 
isch's  object  was  to  turn  the  Orchestra  into  one  great, 
complex  instrument,  upon  which  he  could  play  as  he 
pleased  at  any  time.  Next  to  nothing  was  ever  prede- 
termined at  rehearsals;  his  conductorship  showed  itself 

184 


GERICKE'S  SECOND  TERM 

only  at  performances.  When  things  went  right,  they 
went  superbly ;  when  he  "  missed  his  tip,"  as  he  fre- 
quently would  do,  they  went  very  badly  indeed.  The 
players  who  had  sweated  blood  at  Mr.  Gericke's  re- 
hearsals, found  Mr.  Nikisch's  performances  more  tax- 
ing still ;  few  ever  knew  what  that  terrible  baton  was 
going  to  do  next.  But  Mr.  Nikisch's  genius  and  per- 
sonal magnetism  worked  wonders  ;  only  he  really  taught 
the  Orchestra  next  to  nothing ;  it  remained  Mr.  Ger- 
icke's Orchestra  still. 

Of  Mr.  Paur  we  would  say  little.  He  is  a  thorough 
musician,  an  earnest,  honest  worker.  But  his  conduc- 
torship  is  still  too  recent  to  make  it  easy  to  say  any- 
thing about  him  in  the  way  of  criticism.  Suffice  it  that 
.  .  .  the  Orchestra  .  .  .  is  still  Mr.  Gericke's  Orches- 
tra. And  to  this,  his  own  Orchestra,  we  welcome  Ger- 
icke  back  with  the  heartiest  greetings  and  the  fullest 
confidence.  He  will  be  in  his  right  place  once  more, 
next  October ! 

Differing  somewhat  from  this  critic  in  his  es- 
timate of  the  results  obtained  by  Mr.  Nikisch 
and  Mr.  Paur,  Mr.  Higginson  has  written  :  — 

During  Gericke's  last  stay,  the  Orchestra  reached  a 
high  point.  He  had  made  it  originally,  had  seen  it  pass 
through  the  hands  of  Nikisch  and  Paur,  each  of  whom 
did  something  for  it,  and,  at  any  rate,  had  freed  it  from 
his  discipline,  which,  albeit  excellent  in  forming  it,  was 
rather  rigid.  When  he  came  back  to  the  Orchestra,  it 
was  better  than  when  he  left  it,  and  also  he  was  freer 

i8s 


BOSTON  SYMPHONY  ORCHESTRA 

in  his  beat,  and  under  his  magical  touch,  taste,  skill, 
and  industry  it  reached  a  very  high  point. 

Mr.  Gericke,  in  the  communication  from 
which  many  pages  have  already  been  drawn, 
thus  writes  of  his  second  engagement :  — 

When  my  successor,  Mr.  Arthur  Nikisch,  was  going 
to  leave  Boston,  Mr.  Higginson  asked  me  to  return ; 
but,  at  that  time,  I  was  unable  to  accept  his  offer,  as  I 
was  again  directing  the  Oratorio  Concerts  in  Vienna. 

In  1898,  when  Mr.  Emil  Paur  resigned  the  conduc- 
torship  of  the  Boston  Symphony  Orchestra,  I  was  asked 
again  to  resume  my  former  position,  and  I  was  free  to 
accept  it. 

When  I  returned,  I  had  the  indescribable  satisfac- 
tion of  being  received — so  to  speak — with  open  arms 
by  the  public  and  the  Orchestra,  and  I  put  my  heart 
and  soul  again  into  my  old  work.  Nine  years  of  ab- 
sence had  brought  great  changes,  as  a  number  of  musi- 
cians were  new  to  me,  as  I  was  new  to  them.  But  it  did 
not  take  long  until  we  understood  each  other  and  until 
the  Orchestra  gave  me  great  pleasure  with  their  per- 
formances, increasing  in  perfection  all  the  time.  It  was 
remarkable  for  me  to  see  the  interest  the  members  took 
in  the  study  of  novelties,  and  that  they  never  showed 
any  fatigue  in  rehearsing  new  works,  no  matter  how 
difficult  they  were.  When  the  later  works  by  Richard 
Strauss  were  taken  on  the  programme,  the  zeal  and 
spirit  with  which  the  Orchestra  underwent  the  many 
rehearsals  necessary  for  those  works,  and  the  close  at- 

186 


GERICKE'S  SECOND  TERM 

tention  they  paid  during  them,  were  really  fine.  As  a 
result,  the  Orchestra  gave  splendid  performances  of 
these  compositions.  I  will  never  forget  the  first  per- 
formance of  the  "  Heldenleben." 

In  the  time  when  Richard  Strauss  was  brought  into 
relation  with  the  Boston  Symphony  Orchestra  he  was 
surprised  at  the  sound  and  the  playing  he  heard. 
During  the  first  rehearsal  he  held,  Mr.  Higginson  and 
I  were  sitting  in  the  hall  listening,  —  and  when  the  first 
piece  was  over,  he  came  down  to  us,  exclaiming  quite 
enthusiastically:  "Mr.  Higginson,  what  a  wonderful 
Orchestra  you  have  —  how  all  this  sounds  and  how  it 
is  studied !  I  wish  I  could  have  this  Orchestra  in  Eu- 
rope and  perform  all  the  Beethoven  Symphonies  with 
it." 

To  this  anecdote  of  Richard  Strauss  may  be 
added  another,  found  in  a  newspaper  of  the  spring 
of  1 904.  It  is  there  told  that  at  one  of  the  re- 
hearsals for  the  Pension  Fund  Concert  which  he 
conducted,  he  said  to  the  Orchestra,  at  the  con- 
clusion of  a  certain  passage :  "  You  play  that  finely ; 
but  a  little  too  finely.  I  want  some  roughness  here." 
Still  another  newspaper  story  related  that  "a  tuba 
player  in  the  Boston  Orchestra  returned  to  New 
York  last  month,  giving  as  a  reason  for  his  resigna- 
tion that  he  would  have  perished  of  lung  trouble 
if  hehadremained.  Every  time  he  took  a  full  breath 

187 


BOSTON  SYMPHONY  ORCHESTRA 

Mr.  Gericke  eyed  him,  and  put  forth  that  repres- 
sive left  hand.  The  poor  brass  player  had  to  swal- 
low his  own  smoke,  so  to  speak,  and  as  consump- 
tion threatened  him,  he  came  to  this  city,  where 
he  blatteth  as  he  listeth."  From  these  more  or  less 
apocryphal  tales  it  may  at  least  be  inferred  that 
Mr.  Gericke,  in  his  second  term,  preserved  his 
reputation  for  subduing  the  excessive. 

The  changed  conditions  to  which  he  returned 
after  his  absence  of  nine  years  were  both  internal 
and  external.  Apart  from  the  inevitable  losses  and 
accessions  of  individual  players,  an  element  of 
tragedy  had  marked  the  summer  of  1898.  In  the 
sinking  of  the  steamship  La  Bourgogne,  three 
members  of  the  Orchestra,  Leon  Pourtau,  accom- 
plished both  as  a  clarinetist  and  as  a  painter  of 
charmingpictures,  Leon  Jacquet,flutist,and  Albert 
Weiss,  oboist,  perished  on  their  way  to  a  summer 
holiday  in  Europe.  In  still  earlier  years  a  railroad 
accident,  during  one  of  the  Western  trips,  had 
imperilled  the  lives  of  many  members  of  the  Or- 
chestra ;  but  only  in  this  shipwreck  has  sudden 
death  exacted  its  toll  of  the  much-travelling  Bos- 
ton players.  In  more  than  the  three  places  thus 

188 


GERICKE'S  SECOND  TERM 

vacated  and  filled  before  the  autumn,  Mr.  Gericke 
had  new  human  material  to  deal  with.  In  the  audi- 
ences also  new  conditions  were  to  be  faced.  The 
two  conductors  who  had  taken  his  place  since 
1889  had  done  much  to  broaden  the  musical  hori- 
zons of  American  concert-goers.  The  world  of 
music  had  itself  undergone  an  important  change. 
Accordingly,  the  more  conservative  and  classical 
programmes  dictated  at  first  by  Mr.  Gericke's 
taste  called  forth  no  little  complaint.  Indeed,  the 
year  in  which  any  series  of  programmes  seemed 
satisfactory  to  everybody  is  to  be  sought  in  vain  in 
the  annals  of  the  Orchestra.  The  specific  objec- 
tion to  Mr.  Gericke's  choice  of  music  during  the 
first  season  of  his  second  employment  was  that 
familiar  compositions  were  presented  too  often, 
and  that  the  few  unfamiliar  productions  were  too 
rarely  repeated.  As  his  engagement  continued, 
these  complaints  abated,  till,  in  his  final  season,  a 
watchful  New  York  critic  admitted  the  conduc- 
tor's increasing  sympathy  with  modern  schools 
of  music,  frequently  revealed  in  performances  of 
splendid  enthusiasm  and  devotion. 

The  impossibility  of  doing  justice  severally  to 

189 


BOSTON  SYMPHONY  ORCHESTRA 

the  individual  artists  whose  membership  in  the 
Orchestra  has  helped  so  much  to  make  it  what  it 
has  been  was  pointed  out  early  in  this  narrative. 
Something  of  the  same  sort  should  be  said  of  the 
soloists,  vocal  and  instrumental,  who  have  con- 
tributed inestimably  to  the  programmes  of  every 
year.  In  the  beginning  no  concert  was  regarded 
as  complete  which  lacked  a  soloist.  In  Mr.  Ger- 
icke's  first  term  it  has  been  seen  that  the  cause 
of  music,  quite  dissociated  from  personality,  was 
promoted  by  restricting  certain  concerts  wholly 
to  orchestral  music.  At  the  present  time  this 
policy  is  carried  to  the  point  which  limits  the 
engagement  of  soloists  to  artists  of  acknowledged 
supremacy.  Indeed,  the  time  has  long  been  past 
when  a  solo  was  regarded  as  an  indispensable  part 
of  the  programme.  It  is  to  be  noted,  however, 
that  in  Mr.  Gericke's  second  term  the  furore  for 
special  soloists,  such  as  Mme.  Melba  and  Mr. 
Paderewski,  reached  perhaps  its  highest  expres- 
sion. It  were  invidious  to  draw  from  the  long 
lists  of  soloists  —  as  from  that  of  the  virtuosi  in 
the  Orchestra  itself — any  group  of  names  for 
particular  comment.  At  the  end  of  the  volume 

190 


GERICKE'S  SECOND  TERM 

will  be  found  the  names  of  all  the  soloists  during 
all  the  years  through  which  the  Orchestra  has 
existed,  and  of  all  the  members  of  the  Orchestra, 
with  their  terms  of  service,  and  a  summary  of 
the  membership  in  the  first  season  under  each 
conductor.  A  third  appendix  will  be  found  to 
suggest  something  of  that  important  element  in 
the  history  of  the  Orchestra,  —  the  range  and 
growth  of  repertoire,'  In  any  less  statistical 
treatment  of  these  matters  it  would  be  almost 
impossible  to  avoid  distortions  of  scale  and  in- 
equalities of  emphasis. 

Not  that  one  can  hope  entirely  to  avoid  such 
departures  from  perfect  proportion.  Indeed,  it 
may  be  frankly  admitted  that  in  the  distribu- 
tion of  detail  in  treating  the  earlier  and  the 
later  years,  the  formative  period  has  been  recog- 
nized as  the  more  interesting.  However  im- 
portant an  undertaking  may  be,  there  is  less  to 
be  said  about  it  after  its  firm  establishment  than 
during  the  process  through  which  it  must  pass 
on  the  way  to  this  end.  The  acceleration  which 
began  with  the  chronicles  of  the  third  and  fourth 

*  See  Appendices  A,  B,  and  C. 
191 


BOSTON  SYMPHONY  ORCHESTRA 

conductorships  must  henceforth  be  made  still 
more  rapid.  But  before  bringing  to  an  end  the 
annals  of  Mr.  Gericke's  work  as  a  conductor, 
and  proceeding  to  that  of  his  two  successors,  a 
pause  must  be  made  for  two  important  matters 
of  outward  circumstance  —  the  completion  and 
opening  of  Symphony  Hall  and  the  establish- 
ment of  the  Pension  Fund.  Both  of  these  mat- 
ters fell  within  Mr.  Gericke's  second  term.  It  is 
as  it  should  be  that  two  such  factors  of  perma- 
nence can  be  associated  with  the  later  term  of 
service  of  the  conductor  whose  earlier  work 
"  made  the  Orchestra." 

Symphony  Hall  was  opened  on  October  15, 
1900.  When  the  ownership  of  Music  Hall 
passed,  before  this  time,  into  new  hands,  it  was 
carefully  stipulated  that  the  Orchestra  should 
give  its  concerts  in  the  old  building  until  the 
new  should  be  ready  to  receive  it.  The  last 
Symphony  Concert  in  Music  Hall  took  place  on 
April  28,  1900.  The  programme  consisted  of 
Beethoven's "  Leonore  Overture  No.  2,"  Mozart's 
Quintette,  "Di  scrivermi  ogni  giorno,"  from 
"  Cosi  fan  tutte,"  and  Beethoven's  "Choral  Sym- 

192 


iiiiiiii!iiiiiM^:<r; 

M 1 1 1 1 1 1 1 1 1 1  i  i  v^  w^;: 


THE   BOSTON   SYMPHONY    ORCHES 
IN   SYMPHON'i 


\,   DR.    KARL   MUCK,  CONDUCTOR 
ALL.   BOSTON 


GERICKE'S  SECOND  TERM 

phony."  It  was  an  occasion  full  of  sentiment. 
For  fifty  years,  lacking  only  two,  the  best  music 
in  Boston  had  been  heard  in  this  building.  For 
twenty  years,  lacking  only  one,  it  had  been  the 
home  of  the  Boston  Symphony  Orchestra.  The 
concert  could  hardly  have  been  other  than  a 
memorable  event.  Among  its  many  evocations 
from  the  past  was  its  bringing  to  light  a  poem 
written  by  William  Sydney  Thayer  in  1852, 
when  the  Music  Hall  was  opened.  As  an  exam- 
ple of  prophecy  fulfilled,  these  verses  may  well 
be  brought  to  light  again :  — 

O  fair  retreat,  where  even  now 

Art's  consecrating  footprints  shine ; 
Where  Song,  with  her  imperial  brow, 

Shall  hold  her  sway  by  right  divine ! 
How  fast,  with  beauty  girt  around. 

Arose  that  miracle  of  halls. 
As  if,  at  music's  loving  sound, 

Some  weird  Amphion  built  her  walls. 

Within  her  gates  shall  men  retire 

From  care  and  toil  and  wasting  strife, 
And  the  worn  spirit's  pure  desire 

Shall  thrill  with  its  immortal  life ; 
From  lands  remote  in  future  times 

Art's  eager  votaries  shall  press, 
And  here,  in  tones  of  other  climes, 

The  listening  multitude  shall  bless. 


BOSTON  SYMPHONY  ORCHESTRA 

And  though  beyond  old  ocean's  flood 

The  homes  where  their  affections  dwell, 
Stronger  than  ties  of  brotherhood, 

The  power  that  binds  us  by  its  spell ; 
Oh,  not  as  strangers  they  unbar 

The  gates  of  music  to  our  throng, 
For  all  earth's  people  kindred  are 

When  kneeling  near  the  shrine  of  song. 

Soon  after  the  final  concert,  the  transformation 
of  the  building  for  its  new  purposes  of  entertain- 
ment began,  and  the  relic-hunters  set  about  their 
quest  for  fragments  of  the  old  concert  hall.  Some 
wanted  lamps,  others  the  number  and  letter  plates 
marking  the  seats  they  had  occupied  at  the  Sym- 
phony Concerts,  still  others  the  seats  themselves 
—  and  some  of  these  desires  were  gratified.  When 
the  Boston  concert-goers  reassembled  in  the  au- 
tumn, they  found  prepared  for  them  the  statelier 
mansion  to  which  their  weekly  visits  have  since 
been  paid.  The  architects,  Messrs.  McKim,  Mead 
&  White,  of  New  York,  had  spared  no  pains  to 
make  it  one  of  their  many  masterpieces.  For  its 
musical  purposes,  the  hall  represented  an  embodi- 
ment of  the  judgment  of  a  committee  of  gentle- 
men called  together  by  Mr.  Higginson,  who  ex- 
pressed their  views  through  criticisms  of  concert 

194 


GERICKE'S  SECOND  TERM 

halls  in  Europe  and  America  with  which  they 
were  familiar.  The  nearest  approach  to  the  de- 
sired result  was  furnished  by  the  old  Boston 
Music  Hall  and  the  Leipzig  Gewandhaus.  The 
hall  as  constructed  is  the  result  of  an  analytical 
study  of  all  the  halls  considered.  This  analytical 
study  and  the  synthetic  planning  were  made  by 
Professor  Wallace  C.  Sabine,  of  Harvard  Uni- 
versity. The  management  and  the  Orchestra  it- 
self, assisted  by  the  Cecilia  Society  and  other 
singers,  presented  a  programme  made  up  of 
Bach's  Chorale  "  Grant  us  to  do  with  zeal,"  a 
report  by  Mr.  Higginson,  "The  Bird  of  Passage, 
an  Ode  to  Instrumental  Music,"  by  Owen  Wis- 
ter,  and  Beethoven's  "Missa  Solennis."  In  the 
final  lines  of  Mr.  Wister's  Ode  the  unworded 
feeling  of  many  hearers  of  the  Instrumental  Mu- 
sic to  which  he  addressed  himself  found  memo- 
rable expression:  — 

Yea,  sweep  thy  harp  which  hath  a  thousand  strings ! 

The  joy  that  sometimes  is  in  darkest  night, 

And  the  strange  sadness  which  the  sunshine  brings, 

The  splendors  and  the  shadows  of  our  inward  sight,  — 

All  these  within  thy  weaving  harmonies  unite. 

In  thee  we  hear  our  uttermost  despair. 

And  Faith  through  thee  sends  up  her  deepest  prayer. 


BOSTON  SYMPHONY  ORCHESTRA 

Thou  dost  control 
The  moods  antiphonal  that  chant  within  the  soul  j 
And  when  thou  liftest  us  upon  thy  wings, 

From  the  shores  of  speech  we  rise, 

Beyond  the  isles  of  thought  we  go, 

Over  an  unfathomed  flow, 

Where  great  waves  forever  surge 

Beneath  almost  remembered  skies, 

And  on  to  that  horizon's  verge 

Where  stand  the  gates  of  Paradise. 

On  thy  wings  we  pass  within, 

But  summoned  back,  must  we  return 

Across  those  heaving  ocean  streams. 
With  memories,  regrets,  unutterable  dreams. 

Having  seen  what  somewhere  must  have  been, 

A  light,  a  day,  for  which  we  yearn. 

And  there,  beneath  the  beams 

Of  the  revealing,  central  sun. 
That  Greater  Self  who  bides  in  every  one. 
Into  whose  eyes  we  look  sometimes,  and  learn 
The  reason  for  our  Faith  that  still  shall  ceaseless  burn. 

When  Mr.  Higginson  came  to  the  platform, 
the  audience  rose  en  masse.  His  report  —  of 
which  the  "  Transcript "  pithily  remarked, 
"  Enough  for  Mr.  Higginson's  share  in  the  busi- 
ness that  he  talked  sense  and  cut  it  short"  — 
is  a  document  in  the  history  of  the  Orchestra 
which  should  manifestly  be  preserved  in  this 
place :  — 

196 


GERICKE'S  SECOND  TERM 

The  directors  of  this  building  have  allowed  me  the 
honor  and  the  pleasure  of  welcoming  you  to  your  new 
Symphony  Hall.  As  no  detailed  report  of  the  direc- 
tors' scheme  and  acts  has  ever  been  made  to  the  public, 
you  will  perhaps  be  glad  to  hear  a  few  words  on  the 
subject. 

The  directors  have  tried  to  fulfil  the  trust  imposed 
on  them  and  to  make  the  hall  satisfactory  to  you.  After 
a  long  search,  they  chose  this  site  as  the  best  in  Boston, 
and  in  1893  ^^^7  bought  it  at  about  half  the  price  per 
foot  paid  for  the  opposite  lot,  where  the  Horticultural 
Hall  is  to  stand.  They  pondered  long  over  plans,  and 
finally,  laying  aside  with  regret  Mr.  McKim's  beautiful 
design  after  the  Greek  theatre,  they  adopted  the  shape 
of  hall  which  had  of  late  been  in  vogue  because  suc- 
cessful. In  this  decision  they  have  put  aside  the  con- 
victions and  wishes  of  the  architect  —  and  they  may 
have  erred.' 

It  was  no  easy  matter  to  achieve  the  absolute  needs 
of  the  hall  without  injury  to  its  beauty  and  without  un- 
due expense.  They  sought  diligently  to  place  a  second 
and  smaller  room  for  chamber-music  or  lectures  within 
the  space  of  the  exterior  walls,  but  found  that  such  a 
plan  would  only  result  in  a  compromise,  giving  you  two 
poorer  halls.  Therefore,  they  have  built  this  hall,  of 
which  you  will  presently  hear  the  quality. 

If  it  is  a  success,  the  credit  and  your  thanks  are  due 
to  four  men  —  Mr.  McKim,  Mr.  Norcross,  Professor 
Sabine,  of  Harvard  University,  and  last,  but  not  least, 

'  The  original  plan  was  for  a  semi-circular  auditorium  of  classical 
design. 

197 


BOSTON  SYMPHONY  ORCHESTRA 

Mr.  C.  E.  Cotting,  who,  with  his  wide  experience,  has 
watched  and  guided  the  construction  and  guarded  our 
slender  purse.  Without  his  aid  the  hall  might  not  have 
been  ready  to-night,  and  I  rejoice  for  him  that  his  task 
is  fulfilled.  Professor  Sabine  has  studied  thoroughly 
our  questions  of  acoustics,  has  applied  his  knowledge 
to  our  problem  ;  and  I  think  with  success.  Professor 
Cross,  of  the  Institute  of  Technology,  has  also  given 
us  the  benefit  of  his  counsel ;  and  the  help  of  these 
three  gentlemen  has  been  a  pure  labor  of  love.  You  see 
the  handiwork  of  Mr.  Norcross  and  of  his  excellent 
sub-contractors  and  assistants,  but  you  have  not  seen 
their  energy  and  patience  in  our  behalf.  As  for  Mr. 
McKim,  he  is  here  but  will  not  speak  for  himself,  his 
partners,  and  his  office.  Abandoning  his  pet  idea  with 
absolute  cheerfulness,  he  set  himself  to  devise  a  plan 
not  entirely  to  his  liking,  and  even  in  the  execution 
of  this  plan,  he  has  given  up  many  hopes,  wishes,  and 
fancies  because  the  directors  had  no  more  money. 

Our  capital  is  $500,000,  of  which  1410,700  has  been 
subscribed,  and,  as  this  sum  was  far  too  small,  the 
directors  have  borrowed  the  remaining  cost,  which  is 
about  $350,000,  making  the  total  cost  rising  $750,000. 
They  mortgaged  the  hall  with  reluctance,  but  had  no 
other  course,  as  the  money  was  essential. 

The  building  has  been  leased  by  the  directors  for 
ten  years  to  me,  who  am  to  meet  costs  of  administra- 
tion, taxes,  and  all  charges,  and  to  pay  to  the  stock- 
holders the  rest  of  the  receipts. 

Let  me  add  that  the  beauty  of  the  hall  has  been  won 
entirely  by  Mr.  McKim,  and  I   hope  that  it  pleases 

198 


GERICKE'S  SECOND  TERM 

you.  I  think  it  very  handsome,  and  know  that  it  is 
convenient  and  entirely  safe.  With  the  exception  of 
the  wooden  floors  laid  directly  on  masonry  and  steel, 
the  hall  is  built  of  brick,  tile,  steel,  and  plaster.  Ac- 
cording to  the  foreman,  Mr.  French,  it  cannot  be 
burned,  and  thus  the  fear  of  fire  which  has  hung  over 
us  for  twenty  years  in  the  old  hall  is  gone  forever. 

It  had  long  been  clear  that  our  home  of  music  in 
Boston  must  be  moved,  for  the  old  Music  Hall  was 
faulty  in  safety,  in  ventilation,  in  convenience,  in  lack 
of  a  good  organ,  and  to  a  certain  degree  in  acoustics. 
Around  the  old  hall,  from  the  opening  night  on  No- 
vember 20,  1852,  hang  the  happy  memories  of  fifty 
years'  triumphs  —  the  concerts  of  the  Musical  Fund 
Society,  the  Handel  and  Haydn,  the  Germanians,  the 
Harvard  Musical  Society,  the  Apollo,  the  Cecilia  — 
of  Sontag,  Albani,  Carl  Eckert,  Bergmann,  Thomas, 
Zerrahn,  Thalberg,  Rubinstein,  Von  Biilow,  Wieni- 
awski,  Ole  Bull,  Sarasate,  Paderewski,  Patti,  Nillson, 
Sembrich,  Lehmann,  Ternina,  and  countless  artists  — 
of  great  organ  recitals,  as  well  as  echoes  of  noble  ser- 
mons and  church  services,  of  lectures,  of  great  public 
meetings —  nor  can  any  one  forget  the  men  who,  from 
public  spirit,  built  the  old  hall,  with  one  gentleman  at 
their  head,  whose  life  and  means  without  stint  were 
devoted  to  art —  Mr.  Charles  C.  Perkins. 

The  old  Music  Hall  had  become  a  great  temple  for 
our  city,  which  had  made  many  generations  happy,  and 
which  it  was  sad  to  leave  —  but  the  long-felt  need  of 
change,  quickened  in  1893  by  the  supposed  certainty 
of  a  street  through  the  hall,  moved  you  to  offer  your 

199 


BOSTON  SYMPHONY  ORCHESTRA 

money  freely  during  a  period  of  financial  distress,  and 
thus  to  give  to  the  city  this  new  home.  To  me  it  was 
of  vital  moment,  for  without  it  the  life  of  the  Orchestra 
would  have  ceased,  and  I  have  never  said  how  deeply 
your  sympathy  and  generosity  touched  me. 

It  is  all  as  it  should  be.  Certain  citizens  of  Boston 
build  a  hall,  without  regard  to  return  in  money,  and  by 
this  act  care  for  the  happiness,  the  convenience,  the  edu- 
cation of  the  inhabitants  for  twenty  miles  around  this 
spot;  and  it  is  fitting  in  a  republic  that  the  citizens  and 
not  the  government  in  any  form  should  do  such  work 
and  bear  such  burdens.  To  the  more  fortunate  people 
of  our  land  belongs  the  privilege  of  providing  the  higher 
branches  of  education  and  of  art. 

As  for  the  Orchestra,  it  is  always  with  us,  and  is 
always  trying  to  improve  itself — thus  far  with  success. 
It  is  nearly  of  age  and  is  always  glad  to  speak  for  itself. 
Of  its  knowledge,  its  skill,  its  artistic  qualities,  its  con- 
stant devotion  to  the  best  work  year  after  year,  of  its 
consequent  power  to  play  its  great  repertory,  I  have  no 
adequate  words  to  speak,  nor  can  I  tell  you  how  highly 
I  prize  our  great  string  and  wind-players,  let  alone  our 
conductor,  who  has  formed  the  Orchestra  and  led  it  so 
long,  and  who  has  never,  even  to  save  his  men  or  me 
toil  and  trouble,  lowered  one  jot  his  lofty  standard  of 
performance.  I  am  very  proud  of  him  and  of  them, 
this  band  of  artists,  and  I  again  thank  them  with  all  my 
heart,  for  they  have  done  our  city  and  our  country 
signal  and  intelligent  service,  such  as  ennobles  and 
educates  a  nation. 

Whether  this  hall  can  ever  give  so  much  joy  to  our 

200 


GERICKE'S  SECOND  TERM 

people  as  the  old  Music  Hall,  no  one  can  tell.  Much 
depends  on  the  public,  which  has  always  been  loyal  and 
staunch  to  the  Orchestra,  and  for  the  Orchestra  1  can 
only  promise  in  return  that  it  will  try  to  do  its  share. 

In  the  memorandum,  "  In  re  the  Boston  Sym- 
phony Orchestra,"  which  Mr.  Higginson  wrote 
in  1 88 1,  before  the  first  concert  was  given,  it 
has  been  seen  that  the  question  of  a  Pension 
Fund  was  already  presenting  itself  for  considera- 
tion. The  answer  to  it  was  deferred,  but  in  1903, 
at  the  instance  of  Mr.  Gericke,  it  was  definitely 
made  in  the  establishment  of  the  "  Boston  Sym- 
phony Orchestra  Pension  Institution."  The  ofli- 
cers  of  this  body  are  a  board  of  seven  Directors 
elected  annually  by  the  members,  and  three  Trus- 
tees chosen  by  the  Directors.  The  members  are 
divided  into  four  classes,  the  first  of  which  con- 
tains persons  not  employed  as  musicians,  and  not 
liable  to  dues  or  entitled  to  any  financial  benefits. 
Classes  II,  III,  and  IV  are  made  up  of  musicians 
who  have  joined  the  Orchestra,  respectively,  when 
over  thirty  years  of  age,  when  between  twenty- 
five  and  thirty,  and  when  under  twenty-five. 
Their  annual  dues  are  graded  accordingly,  be- 

201 


BOSTON  SYMPHONY  ORCHESTRA 

tween  $37.50  and  $30.  All  members  pay  an  in- 
itiation fee  of  $50.  The  dues  may  be  paid  in 
weekly  instalments  deducted  from  their  salaries 
and  transferred  directly  to  the  treasurer  of  the 
Pension  Institution.  The  maximum  pension  pay- 
able to  retired  members  of  the  Orchestra  is  $500. 
There  are  two  Funds,  the  Permanent,  in  charge 
of  the  Trustees,  and  the  General,  in  charge  of 
the  Directors.  Out  of  these  are  paid,  respectively, 
the  benefits  due  to  persons  whose  membership 
has  terminated  before  ten  years  have  elapsed,  and 
all  other  benefits.  The  Pension  Fund  Concerts 
given  by  the  Orchestra  have  been  the  chief  source 
of  income.  One  third  of  the  proceeds  of  all  these 
concerts  —  the  first  of  which  occurred  March  i , 
1903 — is  paid  to  the  Permanent  Fund,  two 
thirds  to  the  General.  For  the  year  ending  Oc- 
tober 31,  191 3,  the  total  receipts  from  these 
concerts  was  $6,639.70.  In  that  year  the  income 
from  securities  of  the  Permanent  Fund  and  in- 
vested General  Fund  was  $6,976.07.  In  the  same 
period  the  thirty-one  pensions  paid  to  members  of 
the  Institution  and  their  families,  for  whom  care- 
ful provision  is  made  in  the  By-Laws,  amounted, 

202 


GERICKE'S  SECOND  TERM 

in  sums  from  less  than  $ioo  to  the  maximum 
of  $500,  to  $11,074.35. 

These  are  the  bare  facts,  which  are  no  more 
important  than  their  implications.  A  background 
of  security  is  none  too  common  in  the  lives  of 
those  who  depend  upon  one  of  the  arts  for  their 
support.  The  advantage  to  the  men  of  the  Or- 
chestra in  this  regard  has  its  parallel  in  the  ad- 
vantage to  the  Orchestra.  The  early  efforts  to 
keep  the  musicians  under  a  single  conductor  and 
thus  to  provide  the  continuity  of  standards  and 
methods  which  was  truly  felt  to  be  essential  to 
the  best  results  seem  —  in  the  light  of  present 
conditions  —  remote  and  primitive.  The  sense 
of  permanence  in  the  relations  between  the  or- 
chestral body  and  its  individual  members  is  an 
element  of  the  highest  value.  In  the  results  of 
it  all  the  public  is  an  equal  sharer  with  the  men 
and  the  management.  The  Orchestra  is  constantly 
better  for  the  feeling  of  its  members  that  their 
part  in  its  work  is  no  passing  matter ;  and  the 
brilliant  concerts  for  the  Pension  Fund  which 
now  supplement  the  regular  season  are  rare  en- 
richments of  each  musical  year. 

203 


BOSTON  SYMPHONY  ORCHESTRA 

Of  Mr.  Gericke's  second  term  of  service  Mr. 
Higginson  has  recently  written  :  "  Those  years 
of  his  were  very  beautiful  years  in  the  Orchestra." 
Of  the  many  tokens  of  the  skill  and  power  with 
which  by  this  time  he  had  possessed  the  Or- 
chestra, a  single  instance  will  serve  for  illustra- 
tion. At  a  concert  in  Carnegie  Hall,  New  York, 
in  December  of  1902,  all  the  lights  in  the  room 
suddenly  went  out.  "  By  good  fortune  "  —  as  the 
circumstance  was  described  —  "the  darkness  su- 
pervened near  the  end  of  a  glowing  period  in  the 
last  movement  of  the  Schumann  symphony,  the 
band  finished  clearly  the  beat  and  a  half  which 
concluded  the  phrase,  paused  composedly  as  if 
for  a  hyper-eloquent  rest,  and  resumed  at  the 
moment  the  light  returned.  The  audience  filled 
the  hall  with  encouraging  hand-clapping."  The 
credit  for  such  an  exhibition  of  mastery  must,  of 
course,  be  ascribed  in  large  measure  to  the  con- 
cert-master, Mr.  Kneisel,  then  holding  the  place 
of  first  violin  for  the  last  of  his  eighteen  seasons 
with  the  Orchestra.  His  leaving  it  at  the  begin- 
ning of  the  next  season,  with  Julius  Theodoro- 
wicz,  Louis  Svecenski,  and  Alwin  Schroeder,  that 

204 


THE   SIX    CONCERT-MASTERS 

BERNHARD   LISTKMANN,  188I-1885  WILLY    HESS,  I9O4-I907,  I908-I9IO 

FRANZ    KNEISEL,  1885-I9O} 

CARL   WENULING,  I907-I908  ANTON    WITEK,  iglO- 

E.    FERNANDEZ    ARBOS,  1905-1904 


GERICKE'S  SECOND  TERM 

they  might  have  greater  scope  to  win  what  they 
believed  they  could  attain  as  the  Kneisel  Quar- 
tette, was  a  serious  loss  to  the  parent  organiza- 
tion. At  the  same  time  Mr.  Loeffler,  desiring 
greater  freedom  for  his  work  as  a  composer, 
ended  his  long  and  intimate  connection  with  the 
Orchestra.  Mr.  Kneisel's  place  was  taken  for  a 
year  by  E.  Fernandez  Arbos,  succeeded  in  the 
season  of  1903-04  by  Willy  Hess,  who  held  the 
important  post  for  four  consecutive  seasons,  and 
after  giving  place  for  the  year  1907-08  to  Carl 
Wendling,  of  Stuttgart,  returned  in  1908  for  two 
years  more.  In  1910,  Anton  Witek  came  from 
Berlin  as  the  sixth  concert-master,  keeping  the 
number  exactly  even  with  that  of  the  conductors. 
But  with  Mr.  Gericke  as  captain,  the  longest  in 
service,  Mr.  Kneisel  as  lieutenant,  also  the  longest 
in  service,  was  most  closely  identified.  It  speaks 
well  for  the  organization  which  Mr.  Gericke  had 
built  up  that  this  relation  could  come  to  an  end 
without  material  injury  to  the  Orchestra. 

Inthefinal  seasonof  Mr.  Gericke's  second  term, 
on  December  i  and  2,  1905,  the  regular  concerts 
of  the  Orchestra  were  conducted  by  M.  Vincent 

205 


BOSTON  SYMPHONY  ORCHESTRA 

D'Indy.  This  compliment  to  the  modern  French 
school  of  music,  and  to  one  of  its  chief  expo- 
nents, stands  alone  in  the  history  of  the  Orches- 
tra. In  the  earlier  years,  the  suggestion  that  a 
famous  German  composer  and  conductor  who 
happened  to  be  in  Boston  should  take  Mr.  Ger- 
icke's  place  for  one  concert  was  denied.  The 
appearance  of  Richard  Strauss  in  1904,  and  of 
Georg  Henschel  in  1905,  —  when  Beethoven's 
"  Dedication  of  the  House,"  the  first  number 
played  at  the  first  Boston  Symphony  Concert,  was 
on  the  programme,  —  were  at  Pension  Fund  per- 
formances. The  choice  of  the  French  composer 
for  his  unique  distinction  was  the  more  signifi- 
cant when  regarded  as  a  token  of  a  really  broad- 
ening scope  in  the  repertoire  of  the  Orchestra. 
The  extension  of  musical  taste  had  gone  steadily 
forward,  partly  because  the  times  were  chang- 
ing, partly  because  of  the  growing  sympathies  of 
a  conductor  even  so  imbued  as  Mr.  Gericke  was 
with  the  classical  tradition. 

It  is  idle  to  surmise  how  much  further  he 
might  have  carried  the  Boston  public  if  his  sec- 
ond engagement  had  continued  beyond  the  eight 

206 


GERICKE'S  SECOND  TERM 

years  ending  with  the  season  of  1905-06.  But 
there  was  a  failure  in  the  winter  of  1906  to  agree 
upon  the  terms  under  which  his  contract  might 
have  been  renewed,  and  in  February  his  resigna- 
tion was  announced.  By  his  hard  and  fruitful 
labors,  through  thirteen  of  the  twenty-five  years 
of  the  existence  of  the  Orchestra,  he  had  earned, 
not  only  the  leisure  of  retirement,  but  also  the 
hearty  recognition  of  the  musical  public.  This 
he  received  in  full  measure,  especially  at  a  Ben- 
efit Concert,  April  24,  1906,  described  in  a  news- 
paper heading  as  a  "  Big  Family  Party,"  at  which 
with  fitting  words  and  with  gifts  both  of  money 
and  of  objects  of  silver  the  concert-goers  of  Bos- 
ton testified  to  their  just  and  warm  feeling  of 
indebtedness  to  Wilhelm  Gericke. 

A  single  incident  of  his  stay  in  Boston  remains 
to  be  recorded.  His  term  of  service  ended  almost 
simultaneously  with  the  earthquake  and  fire  which 
wrought  such  havoc  at  San  Francisco.  The  men 
of  the  Orchestra,  who  had  often  played  at  Ben- 
efit Concerts  arranged  by  the  management,  this 
time  planned  a  concert  of  their  own,  to  be  con- 
ducted by  one  of  themselves,  the  proceeds  to  be 

207 


BOSTON  SYMPHONY  ORCHESTRA 

added  to  the  fund  for  the  relief  of  the  San  Fran- 
cisco sufferers.  Mr.  Gericke,  hearing  of  the  plan, 
offered  his  services  as  conductor  —  and  the  Or- 
chestra, accepting  them,  gave  generously  to  an 
urgent  cause.  Mr.  Gericke's  part  in  this  piece 
of  volunteer  public  service  brings  to  an  appro- 
priate close  the  story  of  his  relation  with  an  en- 
terprise to  which  the  public  already  owed  so 
much. 


VI 

DR.    KARL    MUCK,    MAX   FIEDLER,  AND   AGAIN 
DR.    MUCK 

1906-1914 

TO  write  of  the  Orchestra  under  its  last  two 
conductors  is  to  deal  with  the  present  — 
a  matter  which,  lacking  perspective,  may  perhaps 
best  be  handled  by  the  briefest  presentation  of 
the  essential  facts.  Conspicuous  among  them  is 
the  fact  that,  even  more  than  when  Hans  Richter 
was  sought,  it  had  become  imperative  in  1906  to 
find  a  conductor  of  the  very  highest  standing. 
Of  all  the  men  who  have  directed  the  Orchestra 
Dr.  Muck  came  to  his  work  with  the  most  firmly 
established  reputation  as  a  conductor.  Born  in 
Darmstadt,  October  22,  1859,  broadly  educated 
at  the  Universities  of  Leipzig  and  Heidelberg, 
holding  the  degree  of  Doctor  of  Philosophy,  he 
had  occupied  musical  positions  of  the  first  impor- 
tance before  taking  the  post  he  was  filling  in  1 906 
—  the  conductorship  of  the  Royal  Opera  House 
of  Berlin.    As  this  position  is  under  the  direct 

209 


BOSTON  SYMPHONY  ORCHESTRA 

patronage  of  the  German  Emperor,  the  imperial 
consent  to  his  leaving  Berlin  had  first  of  all  to 
be  obtained.  In  an  interview  soon  after  his  arrival 
in  America,  Dr.  Muck  attributed  this  consent 
entirely  to  the  Emperor's  regard  for  Americans, 
especially  for  Harvard  University,  with  which 
Mr.  Higginson  was  known  to  be  closely  associ- 
ated. Dr.  Muck's  engagement,  resulting  from 
long  negotiations  by  Mr.  Charles  A.  Ellis  in 
Berlin,  was  announced  early  in  June  of  1906. 

At  the  very  first  concert  conducted  by  Dr. 
Muck  when  he  came  to  Boston  in  the  autumn 
of  1906,  he  paid  the  Orchestra  a  remarkable 
compliment,  and  at  the  same  time  assured  the 
audience  of  his  complete  confidence  in  the  Bos- 
ton players,  by  laying  down  his  baton  in  the 
midst  of  a  Beethoven  symphony  and  letting  the 
music  proceed  without  direction.  In  the  inter- 
view already  mentioned  Dr.  Muck  did  not  hesi- 
tate to  rank  the  Boston  Orchestra  with  the  best 
in  Europe,  and  commended  especially  the  wis- 
dom of  securing  French  musicians  for  the  wood 
instruments,  German  for  the  brasses,  and  many 
Austrians  and  Americans  for  the  strings.   If,  from 

210 


DR.  MUCK  AND  MR.  FIEDLER 

beginning  to  end,  there  have  not  been  more 
Americans  in  the  Orchestra,  it  is  only  because 
better  musicians  of  other  nationalities  have  been 
obtainable.  The  question  of  quality  has  been  held 
supreme.  As  for  our  native  music,  Mr.  Higgin- 
son  has  written:  "All  the  conductors  have  been 
willing  to  play  American  music  when  it  seemed 
to  them  good  enough,  and  they  have  been  liberal 
in  that  way."  An  intelligent  comparison  between 
the  total  product  of  American  music  of  a  high 
order  and  its  representation  in  the  repertoire  of 
the  Boston  Orchestra,  as  shown  in  the  table  at 
the  end  of  this  volume,  will  testify  to  the  justice 
of  this  statement. 

In  the  constantly  open  question  of  programme- 
making.  Dr.  Muck,  early  and  late,  has  shown 
himself  a  believer  in  the  theory  that  each  pro- 
gramme should  be  a  unit  —  a  consistent  structure. 
The  classic  and  the  frankly  romantic,  he  has  held, 
should  no  more  be  thrown  together  in  a  single 
concert  than  they  should  in  a  single  room  of  an 
Art  Museum.  A  musical  season  gives  ample 
opportunity  for  the  production  of  works  of  widely 
varied  schools;  one  evening  does  not.  With  this 

21  I 


BOSTON  SYMPHONY  ORCHESTRA 

unifying  of  separate  concerts,  each  complete  after 
its  kind,  has  gone  the  desire  to  present  musical 
works  in  their  completeness.  Selections,  arrange- 
ments, overtures,  and  other  fragments  have  there- 
fore played  an  inconspicuous  part  in  Dr.  Muck's 
programmes. 

Their  effect  on  the  audiences  was  what  might 
have  been  expected.  Those  who  missed  the  for- 
est for  the  trees  found  in  one  concert  or  another 
the  gratification  or  the  disappointment  of  their 
personal  tastes,  and  generalized  accordingly.  In 
the  second  season  of  Dr.  Muck's  conductorship, 
1907—08, — for,  after  the  single  year  of  absence 
from  Berlin  granted  by  the  Emperor,  he  was  in- 
duced to  grant  yet  another, — many  correspond- 
ents of  the  "Transcript"  uttered  their  views 
upon  the  frequency  of  "first  time"  performances 
of  modern  compositions.  One  of  them  was  moved 
to  ask :  "  If  we  are  to  hear  again  Bischoff 's  sym- 
phony or  other  similar  works,  would  it  not  add 
mightily  to  the  cheerfulness  of  the  evening  if 
the  programme  were  to  state,  *  Probably  last  time 
in  Boston?'"  When  all  was  said,  the  "Tran- 
script" published  a  list  of  the  compositions  played 

212 


DR.  MUCK  AND  MR.  FIEDLER 

during  the  season,  and  showed  that  the  division 
between  the  classics  and  modern  productions  was 
very  nearly  even.  The  changed  point  of  view 
since  the  earlier  years  of  the  Orchestra  revealed 
itself,  however,  in  the  inclusion  of  Brahms  and 
Wagner  among  the  classics.  When  the  New 
York  "Sun"  at  about  the  same  time  said  of 
Dr.  Muck,  "His  veneration  for  the  classics  is 
equalled  by  his  enthusiasm  for  the  writers  of 
to-day,"  it  not  only  expressed  a  significant  truth, 
but  paid  Dr.  Muck  an  enviable  compliment. 

After  Dr.  Muck's  first  year  the  Orchestra  lost 
the  services  of  two  players  long  and  notably  as- 
sociated with  it  —  Mr.  Timothee  Adamowski, 
of  the  violins,  and  his  brother,  Mr.  Josef  Adam- 
owski, of  the  'celli,  who,  like  the  members  of 
the  Kneisel  Quartette,  sought  greater  freedom 
for  concerts  of  chamber  music.  At  this  time 
also  the  number  of  horn-players,  already  aug- 
mented in  Mr.  Gericke's  second  term,  was  in- 
creased from  six  to  eight.  At  an  earlier  day 
when  two  harpists  —  for  the  proper  rendering 
of  a  certain  composition  —  appeared  on  the 
stage  of  Symphony  Hall  instead  of  the  custom- 

213 


BOSTON  SYMPHONY  ORCHESTRA 

ary  one,  a  lady  was  heard  to  declare  that  she 
never  knew  there  were  so  many  harps  in  the 
world.  But  the  two  harps,  on  occasion,  and 
the  eight  horns,  constantly,  are  now  taken  for 
granted.  So,  indeed,  is  much  besides  —  so  much 
that  it  is  hard  to  tell  whether  it  was  in  irony  or  in 
utter  seriousness  that  a  member  of  the  local  mu- 
sical public  wrote,  during  Dr.  Muck's  second 
year :  "  How  good  it  will  be,  how  beautiful, 
when  the  day  arrives  in  which  we  may  listen 
to  that  great  concert  under  better  conditions. 
Seated  in  spacious  chairs,  half  or  wholly  reclin- 
ing, under  modulated  light,  with  an  orchestra 
which  after  its  welcome  shall  be  concealed  from 
view,  and  with  an  audience  so  devoted  to  music 
as  to  waste  fifteen  minutes  after  the  music  is  quite 
finished  in  dressing  for  the  street.  Then  shall 
music  bear  its  unhindered  appeal  to  the  inner 
vision  and  consciousness,  and  fulfil  its  mission  of 
recreation,  culture,  inspiration,  and  joy."  Then, 
one  is  tempted  to  add,  shall  the  concert-goer  be 

"carried  to  the  skies 
On  flowery  beds  of  ease  "; 

but  the  time  seems  no  more  ripe  for  such  a  con- 

214 


DR.  MUCK  AND  MR.  FIEDLER 

summation  than  it  has  been  for  compliance  with 
scores  of  other  well-meant  but  impracticable  sug- 
gestions. 

Turning  from  such  externals  to  the  essentials, 
it  is  to  be  said  with  emphasis  that  well  before 
the  end  of  Dr.  Muck's  first  two  years,  the  scope 
and  authority  of  his  conductorship  had  done 
with  the  Orchestra  that  which  justified  an  accu- 
rate observer  in  writing :  "  Mr.  Gericke  left 
the  Symphony  Orchestra  a  perfect  instrument ; 
Dr.  Muck  has  given  it  a  living  voice."  But  in 
January  of  1908,  it  became  clear  that  his  absence 
from  Berlin  would  not  be  longer  extended.  Re- 
alizing and  acknowledging  the  fact  that  a  di- 
rector could  hardly  find  himself  in  a  post  in 
which  the  conditions  for  artistic  satisfaction  are 
so  completely  met,  he  resigned  his  position. 
When  he  returned  to  Germany,  it  was  not  with- 
out the  hope  —  felt  also  in  America  —  that  he 
would  yet  again  return  to  Boston.  It  was  at  his 
suggestion  that  Mr.  Max  Fiedler,  of  Hamburg, 
a  contemporary  —  born  December  31,  1859,  at 
Zittau  —  and  a  colleague  of  student  days,  was 
called  to  the  place  he  vacated. 

215 


BOSTON  SYMPHONY  ORCHESTRA 

The  contrast  between  the  methods  of  Dr. 
Muck  and  those  of  Mr.  Fiedler  could  hardly  have 
been  stronger.  If  resemblances  rather  than  dif- 
ferences were  to  be  sought,  they  would  be  found 
chiefly  in  a  comparison  between  Mr.  Fiedler 
and  Mr.  Paur,  whose  personal  vigor  in  conduct- 
ing, with  sweeping  emphasis  and  broad  effects 
following  rapidly  upon  one  another  was  vividly 
brought  to  mind  by  the  new  director.  To  these 
qualities  was  added  an  element  of  entire  sincerity 
without  which  their  defects  would  have  out- 
weighed their  excellences,  as  they  never  did.  In 
another  important  respect  he  differed  widely 
from  Dr.  Muck — and  that  was  in  his  construc- 
tion of  programmes.  Overtures  and  fragments 
of  Wagner,  which  Dr.  Muck  had  used  in  Pen- 
sion Fund  concerts,  were  restored  to  the  regular 
programmes.  The  result  was  that  Mr.  Fiedler 
found  himself  described  as  a  conductor  less  for 
connoisseurs  than  for  the  general  public,  and  the 
great  popularity  of  the  concerts  under  his  direc- 
torship justified  the  description. 

For  four  seasons  Mr.  Fiedler  thus  conducted 
the  Orchestra,  affording  great   pleasure  to  the 

216 


rURKK   CONDUCTORS 


KARL    Ml'CK,   I906-I908,  1912- 
MAX    FIEULEK,  I908-I9IZ  KMIL    PAUR,  1895-18 


DR.  MUCK  AND  MR.  FIEDLER 

audiences,  and  showing  himself  impartially  open 
to  the  claims  of  contemporaneous  and  of  classical 
music.  That  there  were  elements  of  the  Ameri- 
can public,  even  in  New  England,  still  somewhat 
in  the  dark  about  such  an  organization  as  the 
Boston  Symphony  Orchestra  appeared  in  a  let- 
ter received  during  Mr.  Fiedler's  second  season, 
1909-10,  from  a  town  not  far  distant  from  Bos- 
ton. It  announced  that  a  concert  and  ball  were 
to  be  given  in  the  town,  and  that  the  people  de- 
sired to  secure  for  it  the  Boston  Symphony  Or- 
chestra, which  they  had  "heard  was  a  very  good 
one."  They  thought  they  could  pay  as  much  as 
$300  if  the  Orchestra  could  play  for  the  danc- 
ing as  well  as  the  concert.  Fortunately,  the  man- 
agement could  reply  that  it  was  committed,  for 
the  evening  proposed,  to  an  appearance  in  Car- 
negie Hall,  New  York. 

The  opening  of  Mr.  Fiedler's  final  season, 
1911-12,  marked  the  thirtieth  anniversary  of 
the  Orchestra,  and  the  second  concert,  on  Oc- 
tober 14,  was  made  a  commemoration  of  the 
event.  At  the  beginning  of  this  year  some  friends 
of  Mr.  Higginson's  placed  in  the  foyer  of  Sym- 

217 


BOSTON  SYMPHONY  ORCHESTRA 

phony  Hall  Mr.  Bela  L.  Pratt's  bust,  inscribed 
"  Henry  Lee  Higginson,  Founder  and  Sustainer 
of  the  Boston  Symphony  Orchestra."  It  is  re- 
produced as  the  frontispiece  of  this  volume. 
Early  in  January  it  was  announced  that  Dr. 
Muck  would  return  to  the  conductorship  in  the 
autumn  of  1 9 1 2.  At  the  final  concert  of  the  sea- 
son Mr.  Fiedler  responded  in  a  farewell  speech, 
in  English,  to  the  warm  expression  of  apprecia- 
tion from  his  audience,  declaring,  "artistically, 
the  last  four  years  have  been  the  happiest  of  my 
life";  and  it  was  a  happiness  in  which  a  multi- 
tude had  shared. 

During  Dr.  Muck's  absence  he  had  received, 
in  token  of  the  German  Emperor's  opinion  of 
his  eminence  in  music,  the  title  of  "General 
Musical  Director,"  awarded  at  the  same  time 
to  Richard  Strauss.  In  the  two  hundred  years 
through  which  the  Royal  Orchestra  had  existed 
in  Berlin,  this  title  had  previously  been  bestowed 
but  three  times  —  to  Spontini  in  1820,  to  Mey- 
erbeer in  1842,  and  to  Mendelssohn  in  1843. 
Fortunately,  the  honor  did  not  carry  with  it  the 
necessity  of  remaining  permanently  in   Berlin, 

218 


DR.  MUCK  AND  MR.  FIEDLER 

though  it  could  hardly  have  made  it  easier  for 
Dr.  Muck  to  receive  the  further  release  permit- 
ting the  resumption  of  his  work  in  Boston. 
Otherwise  the  interval  between  his  two  terms  of 
service  would  have  been  shorter.  The  present 
engagement,  which  began  with  the  season  of 
191 2-1 3,  is,  under  the  contract  between  Dr. 
Muck  and  the  management,  for  a  term  of  five 
years. 

During  this  second  engagement  it  is  notice- 
able that  Dr.  Muck's  programmes  have  been 
subjected  to  much  less  criticism  than  during  his 
first  two  years ;  yet  no  change  was  made  in  their 
general  plan.  Following  an  elastic  rather  than 
a  rigid  rule,  he  has,  broadly  speaking,  alter- 
nated concerts  of  modern  and  of  classical  music, 
each  a  unit  in  itself,  with  the  result — as  the 
"Transcript"  has  pointed  out  —  that  in  the 
course  of  the  season  a  great  variety  of  music  has 
been  provided.  The  longer  concerts,  for  which 
Mr.  Fiedler  set  a  precedent,  followed  by  Dr. 
Muck,  have  at  the  same  time  afforded  the  op- 
portunity for  greater  freedom  and  range  in  sin- 
gle concerts.   In  the  field  of  solo  performances, 

219 


BOSTON  SYMPHONY  ORCHESTRA 

already  much  more  restricted  than  in  the  time 
when  they  were  deemed  indispensable  to  every 
performance,  Dr.  Muck  imposed  the  further 
limitation  that  singers  were  to  be  accompanied 
by  the  Orchestra  itself  instead  of  a  piano.  The 
larger  fact  behind  all  these  bits  of  detail  is  that  a 
touch  of  severity  has  been  added  to  standards  al- 
ready severe;  and  that  the  audiences  have  kept 
pace  with  them,  not  reluctantly,  but  with  a  sat- 
isfaction in  the  work  of  the  Orchestra  and  its 
conductor  that  has  never  been  surpassed  in  all 
the  thirty-three  seasons  begun  in  1881. 

For  this  satisfaction  there  is  the  amplest  ground. 
Dr.  Muck  holds  the  peculiar  distinction  of  a  pre- 
eminent artist  in  his  own  field  whose  mind  and 
spirit  have  been  trained  by  arduous  exercise  in 
other  fields  of  thought  and  feeling.  The  breadth 
of  the  base  on  which  his  achievement  is  built 
accounts  for  the  height  to  which  it  has  attained. 
It  is  under  his  guiding  hand  that  the  concerts  have 
reached  their  present  highest  point  of  art.  What 
he  has  done,  and  is  doing,  for  the  Orchestra  must 
be  regarded  in  relation  to  the  future  as  well  as  to 
the  present.  In  looking  ahead  no  backward  steps 

220 


DR.  MUCK  AND  MR.  FIEDLER 

are  to  be  contemplated;  and  the  artistic  suprem- 
acy of  the  Orchestra  under  Dr.  Muck  has  clearly 
become  one  of  those  points  of  permanence  to  be 
maintained  through  all  the  years  to  come. 


VII 

CONCLUSIONS 

SUCH  a  story  as  that  of  the  Boston  Symphony 
Orchestra  carries  nearly  all  of  its  meaning 
with  it  —  so  obviously  that  few  words  are  needed 
to  drive  it  home.  Yet  beyond  all  that  has  been 
brought  together  in  the  preceding  pages,  a  few 
words  spoken  on  separate  occasions  by  Mr.  Hig- 
ginson  provide  something  of  helpful  illumina- 
tion. They  are  taken  from  speeches  at  the  New 
York  Harvard  Club  in  February  of  1891,  and 
at  the  Chicago  Harvard  Club  in  February  of 
1901. 

In  the  New  York  speech  were  the  following 
passages :  — 

A  distinguished  English  lady  once  said  to  me  :  "  Life 
in  the  United  States  is  hard  and  dry.  Your  country  is 
a  great  corn-field.  See  that  you  plant  flowers  in  it."  .  .  . 
Do  we  wonder  at  or  praise  a  man  who  beautifies  his 
own  home,  or  makes  happy  his  own  household,  by  a 
free  use  of  his  thought,  his  time,  or  his  money  ?  Surely 
this  is  our  own  country,  which  we  have  helped  to  make 

222 


CONCLUSIONS 

and  for  which  we  are  all  responsible.  It  is  our  home,  and, 
if  we  would  live  in  peace  and  be  happy,  we  must  beau- 
tify our  home  and  make  happy  our  whole  household. 
Which  of  us  has  not  been  surprised  and  moved  to  see 
the  eager  delight  with  which  poor  women  and  children 
take  flowers,  if  offered  to  them  ?  And  are  we  not  sure 
of  the  delight  and  the  sunshine  which  we  can  bring  by 
raising  for  our  brother-laborers  flowers  in  our  great 
corn-field  ? 

At  Chicago,  ten  years  later,  the  same  thought 
was  differently  presented  :  — 

This  beautiful  land  is  our  workshop,  our  playground, 
our  garden,  our  home;  and  we  can  have  no  more  urgent 
or  pleasant  task  than  to  keep  our  workshop  busy  and 
content,  our  playground  bright  and  gay,  our  garden 
well  tilled  and  full  of  flowers  and  fruits,  our  home 
happy  and  pure. 

Why  do  I  say  these  words  to  you?  Because,  for 
nearly  fifty  years,  I  have  been  filled  with  a  deep,  pas- 
sionate wish  that  our  lives  should  be  in  accord  with 
our  highest  ideals  —  our  nation's  creed  —  the  eternal 
justice  of  things,  on  which  hangs  our  national  welfare, 
and  because  the  honor,  the  duty,  the  glory  of  leading 
our  countrymen  aright  lies  open  to  us,  the  University 
men. 

As  for  the  practical  application  of  these  ideals 
urged  upon  his  New  York  hearers  in  the  estab- 
lishment of  such  public  pleasure  as  music  may 

223 


BOSTON  SYMPHONY  ORCHESTRA 

afford,  Mr.  Higginson  said  :  "  Never  mind  the 
balance-sheet !  Charge  the  deficit,  if  there  be 
any,  to  profit  and  forget  the  loss,  for  it  does  not 
really  exist."  Here,  in  a  nutshell,  is  the  philoso- 
phy on  which  the  whole  achievement  of  the  Or- 
chestra, as  a  civic  and  artistic  enterprise,  has  been 
founded. 

On  looking  back  specifically  upon  the  work 
of  the  Boston  Symphony  Orchestra  Mr.  Higgin- 
son has  more  recently  written :  — 

The  success  of  the  Orchestra  has  come  from  the 
same  reason  that  brings  success  in  any  direction  — 
steady,  intelligent  work  on  one  line,  and  by  faithful, 
intelligent  men.  Money  is  of  course  needed,  but  the 
original  scheme  was  simple  and  clear  to  any  one,  and 
the  union  of  work  and  means  has  won.  Of  course  it 
would  !  Musicians  are  not  like  other  men,  and  must  be 
treated  differently ;  but  patience,  discipline,  and  tact 
fetch  good  results.  Any  one  can  do  such  a  work  who 
really  tries. 

Thus  it  has  all  appeared  to  the  "founder  and 
sustainer"  of  the  Orchestra  —  not  as  an  extra- 
ordinary gratification  of  a  strange  personal  fancy, 
but  as  a  natural  thing  of  the  sort  to  be  expected 
from  men  who  have  it  in  their  power  to  serve 

224 


CONCLUSIONS 

their  generation  by  any  such  means.  A  detached 
observer,  Mr.  Richard  Aldrich,  of  New  York, 
writing  in  the  "Century  Magazine,"  has  said: 
"The  Boston  Symphony  Orchestra  is  Mr.  Henry 
L.  Higginson's  yacht,  his  racing-stable,  his  li- 
brary, and  his  art  gallery,  or  it  takes  the  place  of 
what  these  things  are  to  other  men  of  wealth 
with  other  tastes."  This  remark,  ascribed  by 
Mr.  Aldrich  to  Mr.  Higginson  himself,  con- 
sorts with  his  belief  that  if  we  are  going  on  here 
at  all,  we  must  recognize  the  fact  that  the  good 
things  of  the  world  —  education,  art,  everything 
of  the  sort — have  got  to  be  shared;  in  this  shar- 
ing lies  the  best  of  insurance  for  the  future.  What 
the  Orchestra  may  do  —  indeed,  has  already  in 
large  measure  done  —  is  to  bring  nearer  the  day 
when  a  general  sharing  of  this  belief  shall  be  as 
natural  as  the  present  attitude  toward  the  costly 
private  toys  of  those  who  can  afford  them. 

What  the  public  does  not  want  will  not  per- 
manently be  given  to  it.  "One  great  anxiety," 
Mr.  Higginson  has  written,  "  has  been  the  ques- 
tion whether  the  audiences  would  continue,  and, 
to  my  great  surprise,  they  have  continued ;   but 

225 


BOSTON  SYMPHONY  ORCHESTRA 

it  comes  from  a  lot  of  children  being  born  each 
year,  and  then  the  concerts  have  become,  to  a 
certain  degree,  a  need  for  a  lot  of  people — for 
ladies  in  the  afternoon  and  for  ladies  and  gentle- 
men in  the  evening  as  a  good  way  for  finishing 
the  week."  To  this  moderate  statement  about 
the  audiences  may  well  be  added  some  words  of 
Mr.  H.  T.  Parker's  written  about  the  Symphony 
Concert  public  at  the  time  of  the  thirtieth  anni- 
versary of  the  Orchestra :  — 

It  enjoys  the  reputation  of  an  exacting  public;  its 
conductors,  its  managers,  its  own  eager  minority,  and, 
may  be,  a  little,  the  reviewers  whom  it  likes  to  chide,  have 
made  it  and  held  it  such.  It  has  been,  it  often  is,  pas- 
sive, in  spite  of  much  stimulation.  It  is  a  little  prone 
now  to  take  the  Symphony  Concerts  as  an  institution 
to  which  it  discharges  its  duty  and  is  content.  Such  a 
public,  so  minded,  with  the  propulsive  minority  to  trouble 
it  on  due  occasion,  safeguards  the  present,  but  a  wider 
public,  perhaps,  must  care  for  the  future.  Newcomers 
to  Symphony  Concerts  say  the  audiences  look  middle- 
aged,  lacking  the  youth  on  which  they  must  depend  in 
another  generation.  The  wise  in  the  scrutiny  of  publics 
say  that  another  must  be  speedily  added  to  that  which 
now  maintains  the  concerts  —  the  public  that  is  slowly 
developing  a  tentative  curiosity  about  music  in  its 
higher  estates.  There  are  enough  Bostonians  of  the 
younger  generation  to  accept  the  Symphony  Concerts 

226 


CONCLUSIONS 

as  an  inheritance,  and,  becoming  experienced,  to  like 
them  as  their  fathers  or  oftener  their  mothers  did  before 
them.  .  .  .  The  public  that  inherits  and  the  public 
that  is  groping  may  yet  in  a  fourth  and  fifth  decade 
make  the  widest,  the  worthiest  public  that  the  Orches- 
tra has  yet  known. 

In  entire  confidence  that  such  a  public  will 
come  to  be,  all  possible  steps  have  been  taken  to 
insure  the  permanence  of  the  Orchestra.  If  in 
the  future  the  public  of  other  cities  than  Boston 
shall  do  less  for  its  support  than  in  the  past,  it 
will  be,  in  no  small  degree,  because  the  Boston 
Orchestra  has  helped  to  point  the  way  toward  the 
public  and  private  maintenance  of  similar  insti- 
tutions throughout  the  country.  This,  in  itself,  is 
an  achievement  repaying  much  of  effort  and  sacri- 
fice. All  the  other  reimbursements  are  beyond 
enumeration.  What  the  public  has  gained,  be- 
sides its  enjoyment  of  the  fruits  of  a  garden  lov- 
ingly planted  and  faithfully  tended,  has  been  the 
spectacle  of  a  dream  fulfilled,  a  vision  realized 
through  unswerving  faith  in  the  ideal  from  which 
it  sprang. 

THE    END 


APPENDIX 


APPENDIX  A 

THE  SOLOISTS.  The  following  list  contains  the  names 
of  all  the  soloists  and  assisting  musicians  who  have  appeared  in 
the  concerts  of  the  Boston  Symphony  Orchestra,  from  1881- 
82  to  191 3-14,  whether  in  Boston  or  in  other  places,  with 
abbreviated  dates  for  the  years  of  their  appearance.  The  figures 
in  parentheses,  following  the  dates,  indicate  the  total  number 
of  appearances  of  each  soloist. 

Adamowski,  T.  (Violin.)  '8s-'86-'87-'89-'90-'9i'-'92-'93-'94-'9S-'9^'97- 

'98-'99-'oo-'o2-'o3-'o4-'o5-'o6-'o7  (82) . 
Adamowski,  A.  S.  See  Szumowska. 
Adams,  Charles  R.  (Tenor.)  '82-'83  (4). 
Albert,  Eugene  d'.  (Piano.)  '92-'os  (24). 
Aldrich,  Mrs.  Truman.  (Piano.)  '13  (i). 
Allen,  Mrs.  Humphrey.  (Soprano.)  '82-'83-'84-'8s-'89  (ll). 
Alves,  Mme.  Carl.  (Soprano.)  '89  (i). 
Apollo  Club.  (Boston.)  'o6-'io  (2). 
Arbos,  E.  Fernandez.  (Violin.)  'o3-'o4  (5). 
Arnaud,  Germaine.  (Piano.)  'o8-'o9  (3). 
Arnheim,  Katherine  von.  (Soprano.)  '83  (2). 
Ashenden,  Clarence  B.  (Bass.)  '99  (i). 
Ashley,  Ruth  Lewis.  (Mezzo-soprano.)  '14  (i). 
Aubigne,  Lloyd  d'.  (Tenor.)  '95  (2). 
Aus    der    Ohe,  Adele.    (Piano.)    '87-'88-'89-'90-'92-'9S-'97-'99-'oi-'o3- 

'o4-'os-'o6  (si). 

Babcock,  D.  M.  (Bass-baritone.)  '84-'87  (2). 

Bachaus,  VVilhelm.  (Piano.)  '12  (i). 

Bachner,  Louis.  (Piano.)  'o4-'o8  (2). 

Baermann,  Carl.  (Piano.)  '82-'83-'84-'86-'87-'88-'89-'93-'94-'99  (26). 

Baernstein,  Joseph  S.  (Bass.)  '00  (i). 

Bailey,  Lillian.  See  Henschel,  Mrs.  Georg. 

Bak,  Adolf.  (Violin.)  'o3-'o6  (3). 

Baltimore  Oratorio  Society.  'lo-'ii  (2). 

Baltimore  Philharmonic  Chorus,  'il  (l). 

Barleben,  Carl.  (Violin.)  'o4-'os-'o6  (3). 

Barna,  Marie  (Marie  Barnhard  Smith).  (Soprano.)  '93-'94-'98  (3). 

Barnes,  A.  M.  (Bass.)  '86  (i). 

Bartlett,  Caroline  Clarke.   See  Clarke,  Caroline  G. 

Barstow,  Vera.  (Violin.)  '13  (i). 

231 


APPENDIX 

Barton,  Blanche  Stone.  (Soprano.)  '84  (i). 

Basta-Tavary,  Marie.  (Soprano.)  '93  (3). 

Bauer,  Harold.  (Piano.)  'oo-'oi-'o2-'o3-'o6-'o8-'ii-'l2-'l4  (23). 

Bayrhoffer,  Carl.  (Violoncello.)  '81  (i). 

Beach,  Mrs.  H.  H.  A.  (Pianist.)  '85-'86-'88-'92-'95-'oo  (6). 

Becker,  Hugo.  (Violoncello.)  '01  (5). 

Beddoe,  Daniel.  (Tenor.)  'lo-'ii  (2). 

Beebe,  Henrietta.  (Soprano.)  '82-'83  (3). 

Behrens,  Conrad.  (Bass.)  '91  (3). 

Bendix,  Otto.  (Piano.)  '82  (i). 

Benzing,  Jacob.  (Bass.)  '86  (2). 

Berber,  Felix.  (Violin.)  '10  (i). 

Birnbaum,  Alexander  J.  (Violin.)  '03  (2). 

Bispham,  David.  (Baritone.)  '97-'o6-'il  (8). 

Blauvelt,  Lillian.  (Soprano.)  '93-'94-'9S-'96-'98-'02-'04-'0S  (13). 

Bloomfield-Zeisler,    Fanny.    (Piano.)    '85-'87-'89-'90-'9i-'92-'93-'98-'99- 

'o3-'o4  (24). 
Boema,  Gabriella.  (Soprano.)  '83  (l). 
Boscovitz,  Frederic.  (Piano.)  '88  (l). 
Boston  Singers  Society.  '91  (i). 

Boston  Symphony  Orchestra  Chorus.  '86-'92-'93  (3). 
Boye-Jensen,  Mrs.  M.  (Contralto.)  '99  (i). 
Breitner,  Ludwig.  (Piano.)  '00  (3). 
Brema,  Marie.  (Mezzo-soprano.)  '95-'cX)  (5). 
Brodsky,  Adolph.  (Violin.)  '91  (i). 
Buonamici,  Carlo.  (Piano.)  'o2-'o4-'o5-'io  (5). 
Burmeister,  Richard.  (Piano.)  '90-'92-'97-'oi-'o2  (5). 
Burmester,  Willy.  (Violin.)  '98  (6). 
Bushnell,  Ericsson  C.  (Bass.)  '9i-'99  (3). 
Busoni,  Ferruccio.  (Piano.)  '9i-'92-'93-'94-'o4-'lO-'lI  (27). 
Butt,  Clara.  (Contralto.)  '99  (i). 
Byard,  Theodore.  (Baritone.)  '98-'99  (2). 

Campanari,  Guiseppe.  (Baritone.)  '92-'93-'95-'96-'97-'oi-'05  (12). 

Campanari,  Leandro.  (Violin.)  '8i-'85-'86  (3). 

Campanini,  Italo.  (Tenor.)  '90  (i). 

Campbell,  Margaret.  (Soprano.)  '91  (i). 

Carbone,  Carmela  and  Grazia.  (Soprano  and  Contralto.)  '02  (2). 

Carlsmith,  Lillian.  (Contralto.)  '93  (i). 

Carreiio,  Teresa.  (Piano.)  '87-'89-'97-'99-'o8-'o9-'l3-'l4  (30). 

Cary,  Annie  Louise.  (Contralto.)  '81  (i). 

Castellano,  Eugenia.  (Piano.)  '92-'93  (2). 

Cecilia  Society.  (Boston.)  '89-'92-'94-'99-'oo-'09-'io  (lo). 

Cheney,  Amy  Marcy.    See  Beach,  Mrs.  H.  H.  A. 

Child,  Bertha  Cushing.  (Contralto.)  '07  (3). 

Choral  Art  Society.  (Boston.)  '03  (l). 

Cirillo,  V.    (Bass.)  '82-'83  (2). 

Clarke-(Bartlett),  Caroline  Gardner.  (Soprano.)  '9S-'96-'o9  (5). 

Clement,  Edmond.  (Tenor.)  '11  (i). 

232 


APPENDIX 

Cleveland  Chorus.  '89  (i). 

Cole,  Alice  Robbins.  (Mezzo-soprano.)  'o2-*os-'o9  (3). 
Collier,  Bessie  Bell.  (Violin.)  'io-'i2  (3). 
Combs,  Laura.  (Soprano.)  'o9-'io  (3). 
Corden,  Juliette.  (Soprano.)  '01  (i). 
Cottlow,  Augusta.  (Piano.)  '02  (i). 
Cramer,  Pauline.  (Mezzo-soprano.)  '01  (l). 
Crossley,  Ada.  (Contralto.)  '03  (i). 
-Culp,  Julia.  (Mezzo-soprano.)  '13  (3), 
Cunningham,  Claude.  (Bass.)  'lo-'ii  (2). 
Czerwonky,  Richard.  (Violin.)  '07  (i). 

Daniels,  John  F.  (Tenor.)  '06  (i). 

Davies,  Ben.  (Tenor.)  '95-'96-'97-'99-'oo-'o2-*03-'o6  (23). 

Davies,  Ffrangcon.  (Baritone.)  '98-'99  (4). 

De  Seve,  Alfred.  (Violin.)  '82-'83  (2). 

Destinn,  Emmy.  (Soprano.)  '08  (i). 

Desvignes,  Carlotta.  (Mezzo-soprano.)  '95  (l). 

Deyo,  Ruth.  (Piano.)  '13  (3). 

Dippel,  Andreas.  (Tenor.)  '9i-'oi  (6). 

Doane,  Suza.  (Piano.)  '92-'oo  (2). 

Dohnanyi,  Ernst  von.  (Piano.)  '00(13). 

Drasdil,  Anna.  (Soprano.)  '82  (i). 

Duff,  Janet.  (Contralto.)  '10  (i). 

Eames,  Emma.  (Soprano.)  '86-'93-'o5-'o8  (7). 

Eaton,  Elene  B.  (Soprano.)  '94  (i). 

Edmands,  Gertrude.  (Contralto.)  '83-'87-'8^'90-'99  (ij). 

Elman,  Mischa.  (Violin.)  'o9-'io-'ii  (31). 

Ensworth,  George.  (Baritone.)  '04  (i). 

Faelten,  Carl.  (Piano.)  '84-'86-'89-'90-'9i-'9S  (7). 
■  Farrar,  Geraldine.  (Soprano.)  'o8-'o9-'io-'i2-'i3  (18). 
Ferir,  Emil.  (Viola.)  'o3-'o4-'o5-'o7-'o8-'io-'ii-'i2-'l4  (18). 
Fischer,  Emil.  (Bass.)  '88-'89-'9i-'o2  (8). 
Flesch,  Carl.  (Violin.)  '14  (i). 
Fletcher,  Nina.  (Violin.)  '09  (i). 
Forbes,  Elizabeth  Claire.  (Piano.)  '14  (i). 
Ford,  Mrs.  S.  C.  (Soprano.)  '09  (i). 
Foresmann,  Adelaide.  (Contralto.)  '89  (i). 
Foote,  Arthur.  (Piano.)  '83-86  (3). 
Foster,  Muriel.  (Mezzo-soprano.)  'o4-'o5  (8). 
Fox,  Mary  E.  (Singer.)  '91  (i). 
Franklin,  Gertrude.  (Soprano.)  '83-'8s-'86-'87-'88-'89-'90-'9i-*94-'9S-'96 

(20). 
Fremstad,  Olive.  (Soprano.)  'o4-'o6-'io  (4). 
Freygang,  Alexander.  (Harp.)  '83-'84-'8s  (5). 
Friedheim,  Arthur.  (Piano.)  '91  (i). 
Fursch-Madi,  Emma.  (Soprano.)  '86-'87-'9i  (10). 


APPENDIX 

Gabrilowitsch,  Ossip.  (Piano.)  'oo-'o7-'o8-'o9  (9). 

Gadski,  Johanna.  (Soprano.)  '96-'97-'98-'o3-'04-'os-'o6-'l3  (24). 

Gallison,  Mrs.  H.  H.  (Contralto.)  '97  (i). 

Ganz,  Rudolph.  (Piano.)  'o6-'o7-'il  (6). 

Garlichs,  Mary.  (Piano.)  '84  (2). 

Gebhard,    Heinrich.    (Piano.)    '99-'oi-'o3-'os-'o6-'07-'o8-'io-'i2-'i3 

(17). 
Gelschap,  Marie.  (Piano.)  '89-'9S  (2). 
Gerardy,  Jean.  (Violoncello.)  '01  (5). 
Gerhardt,  Elena.  (Soprano.)  '12-13  (ll). 
Gerrish,  S.  H.  (Piano.)  '84  (i). 
Gerville-Reache,  Jeanne.  (Contralto.)    '08  (l). 
Giese,  Cora.  (Soprano.)  '85  (i). 
Giese,  Fritz.  (Violoncello.)  '84-'85-'86-'87-'88  (20). 
GifFord,  Electa.  (Soprano.)  '01  (i). 
Gilibert,  Charles.  (Baritone.)  'o3-'o4-'o9  (6). 
Glenn,  Hope.  (Contralto.)  '83  (3). 
Gluck,  Alma.  (Soprano.)  '11-12(2). 
Godowsky,  Leopold.  (Piano.)  'oi-'i2  (7). 
Goodrich,  Wallace.  (Organ.)  'oo-'o3-'o4-'o6-'o7-'09-'l3  (7). 
Goodson,  Katharine.  (Piano.)  '07-08-' 12  (6). 
Gregorowitsch,  Charles.  (Violin.)  '01  (5). 
Gruenfeld,  Alfred.  (Piano.)  '91  (3). 

Halir,  Carl.  (Violin.)  '96  (8). 

Hall,  Marguerite.  (Contralto.)  '83-'88-'9l-'04  (7). 

Hall,  Marie.  (Violin.)  '06  (5). 

Halle,  Lady  (Norman  Neruda).  (Violin.)  '99  (9). 

Hambourg,  Mark.  (Piano.)  '99-'03  (8). 

Hamlin,  Elizabeth  C.  (Soprano.)  '84  (i). 

Hamlin,  George.  (Tenor.)  '11  (i). 

Handel  and  Haydn  Society.  '04  (l). 

Harlow,  A.  F.  (Bass.)  '84  (i). 

Hascall,  Mrs.  W.   (Soprano.)  '91  (i). 

Hastreiter,  Helene.  (Contralto.)  '87  (17). 

Hawkins,  Laura.  (Piano.)  '09  (i). 

Hay,  Clarence.  (Bass.)  '86-'92-'93-'99  (4). 

Heermann,  Hugo.  (Violin.)  '03-'os  (5). 

Heimlicher,  Marie.  (Piano.)  '82  (1). 

Heindl,  E.  M.  (Flute.)  '84-'86  (3). 

Heindl,  Elsa.  (Soprano.)  'oi-'o2  (2). 

Heindl,  Henry.  (Viola.)  '84(1). 

Heinrich,  Julia.  (Mezzo-soprano.)  '01  (2). 

Heinrich,  Max.  (Baritone.)  '83-'84-'93-'94-'9S-'97  (14). 

Heinrich,  Wilhelm.  (Tenor.)  '92  (i). 

Hekking,  Anton.  (Violoncello.)  '89-'90-'9l  (19). 

Henkler,  Mrs.  M.  (Singer.)  '89  (i). 

Henschel,  Georg.  (Piano.)  '82-'83  (4). 

Henschel,  Georg.  (Baritone.)  '8i-'82-'83-'84-'89-'92-'96  (26). 


APPENDIX 

Henschel,  Mrs.  Georg  (Lillian  Bailey).  (Soprano.)  '8l-'82-'83-'84-'89-*92- 

'96-'98  (so). 
Henschel,  Helen.  (Soprano.)  '03  (l). 
Henschel,  Mr.  and  Mrs.  (Duets.)  '82-'83-'89-'92  (ll). 
Henson,  Medora.  (Soprano.)  '85  (i). 
Hess,  Willy.  (Violin.)  'o4-'o5-'o6-'o7-'o8-'09-'io  (42). 
Heyman,  Katherine  R.  (Piano.)  '99-'©!  (2). 
Hinkle,  Florence.  (Soprano.)  'ii-'i2-'i3-'i4  (5). 
Hissem  de  Moss,  Mary.  (Soprano.)  '06- '09-' 10  (7). 
Hoffmann,  Jacques.  (Violin.)  '06  (i). 
Hofmann,  Josef.  (Piano.)  'oi-'iC5-'ii-'i2-'l3  (26). 
Holy,  Alfred.  (Harp.)  '13  (2). 

Homer,  Louise.  (Contralto.)  'o4-'o5-'o9-'i2-'i4  (10). 
Hopekirk,  Helen.  (Piano.)  '83-'90-'9i-'98-'oo-'o4  (9). 
Hopkins,  Louisa  M.  (Piano.)  'ii-'i3  (2). 
Hopkinson,  B.  M.  (Bass.)  '89  (i). 
Hosea,  Robert.  (Tenor.)  '02  (i). 
How,  Mary  H.   (Contralto.)  '82-'83-'84-'86  (9). 
Howe,  Mary.  (Soprano.)  '9C>-'9i  (3). 
Howland,  Elizabeth  K.  (Piano.)  'o9-'i2  (2). 
Hubbard,  Eliot.  (Baritone.)  '84-'87-'9i  (3). 
Hunt,  Helen  Allen.  (Contralto.)  'o7-'i2-'l3  (3). 
Huntington,  Agnes.  (Contralto.)  '85  (3). 
Huss,  Henry  H.  (Piano.)  '86-'94  (2). 
Hutcheson,  Ernest.  (Piano.)  'o2-'o6-'lo  (4). 
Hyland,  Clinton  A.  (Bass.)  '99  (i). 

Jackson,  Leonora.  (Violin.)  *oo  (6). 

Jacoby,  Josephine.  (Contralto.)  '98  (3). 

Jahn,  Marie.  (Soprano.)  '91  (3). 

Janson,  Agnes.  (Contralto.)  '00  (l). 

Januschowsky,  Georgina  von.  (Mezzo-soprano.)  '97  (2). 

Joachim,  Amalie.  (Contralto.)  '92  (i). 

Johnson,  Herbert.  (Tenor.)  '99-'oi-'o2  (4). 

Jomelli,  Jeanne.  (Soprano.)  'lo-'ii  (3). 

Jonas,  Albert.  (Piano.)  '97  (2). 

Jordan,  Jules.  (Tenor.)  '83  (i). 

Joseffy,  Rafael.  (Piano.)  '86-'87-'9O-'96-'97-'98-'04-'0S  (31). 

Juch,  Emma.  (Soprano.)  '84-'8s-*87-'88-'89-*92-'94  (21). 

Kalisch,  Paul.  (Tenor.)  '88  (8). 

Kaschoska,  Felicia.  (Soprano.)  '93  (12). 

Keller,  Josef.  (Violoncello.)  '05  (i). 

Kellogg,  Fanny.  (Soprano.)  '82  (i). 

Kelsey,  Corinne  Rider-.   See  Rider-Kelsey,  Corinne. 

Keyes,  Margaret.  (Contralto.)  'o9-'io  (4). 

Kileski-Bradbury,  Evta.  (Soprano.)  'oo-'o4-'o5  (3). 

King,  Julie  Rive-.  (Piano.)  '86-'9i-'92  (3). 

Kirkby-Lunn,  Louise.  (Contralto.)  'o3-'io-'ii  (10). 

^35 


APPENDIX 

Klaberg,  Clara.  (Violin.)  '06  (i). 

Kloepfel,  Louis.  (Trumpet.)  '13  (2). 

Kneisel,  Franz.  (Violin.)  '8s-'86-'87-'88-'89-'90-'9I-'92-'93-'94-'9S-'9&- 

'97-'98-'99-'oo-'oi-'o2  (87). 
Kneisel,  Franz.  (Viola.)  '86-'88-'92-'9S-'99  (20). 
Kneisel,  Franz.  (Viola  d'amore.)  'gS-'oi  (6). 
Knowles,  Mrs.  H.  T.  (Soprano.)  '82-'83  (2). 
Koenen,  Tilly.  (Contralto.)  '00  (i). 
Krasselt,  Rudolf.  (Violoncello.)  'o3-'o4-'os  (16). 
Kreisler,  Fritz.  (Violin.)  'oi-'o2-'o5-'o7-'o8-'io-'l2-'l3-'l4  (38). 
Kutscherra,  Elsa.  (Soprano.)  '95  (4). 

Lambert,  Alexander.  (Piano.)  '85  (i). 

Lamond,  Frederic.  (Piano.)  '02  (4). 

Lamson,  Gardner.  (Bass.)  '92  (l). 

Lang,  B.  J.  (Piano.)  '83-'84-'8s-'86-'89  (6). 

Lang,  B.  J.  (Organ.)  '83  (i). 

Larrabee,  Florence.  (Piano.)  '09  (i). 

Lawson,  Corinne  M.  (Soprano.)  '89  (i). 

Lehmann,  Lilli.  (Soprano.)  '86-'87-'88  (12). 

Lenier,  Louise.  (Contralto.)  '92-93  (2)- 

Lent,  Mrs.  Ernest.  (Piano.)  '94-'9S  (2). 

Lerner,  Tina.  (Piano.)  '08  (i). 

Lhevinne,  Josef.  (Piano.)  '08  (2). 

Libby,  J.  A.  (Bass.)  '86  (i). 

Lichtenberg,  Leopold.  (Violin.)  '84-'8s  (3). 

Liebe,  Teresa.  (Violin.)  '82  (i). 

Liebe,  Theodore.  (Violoncello.)  '82  (l). 

Liebling,  Estelle.  (Soprano.)  '01  (i). 

Listemann,  Bernhard.  (Violin.)  '8l-'82-'83-'84  (24). 

Little,  Lena.  (Mezzo-soprano.)  '9i-'93-'96-'97  (6). 

LoefHer,  Charles  Martin.  (Violin.)  '83-'84-'8s-'86-'87-'88-'89-'90-'9l-'93- 

'94-'9S-'97-'98  (50). 
Loeffler,  Charles  Martin.  (Viola.)  '92  (l). 
LoefSer,  Charles  Martin.  (Viola  d'amore.)  '98-'oi-'04  (10). 
Longy,  Georges.  (Oboe.)  '09-'i3  (5). 
Lunn,  Louise  Kirkby-.  See  Kirkby-Lunn,  Louise. 
Lutschig,  Waldemar.  (Piano.)  '05  (l). 

Maas,  Louis.  (Piano.)  '82-'8s  (2). 

MacCarthy,  Maud.  (Violin.)  '02-03-04  (8). 

MacDowell,  Edward  A.  (Piano.)  '89-'92-'94-'96-'97  (5). 

MacMillan,  Francis.  (Violin.)  '10  (i). 

Magrath,  George.  (Piano.)  '83  (i). 

Mahr,  Emil.  (Violin.)  '89  (i). 

Mann,  Joseph.    (Trumpet.)  '13(2). 

Maquarre,  Andre.  (Flute.)  '99-'o6-'o7-'l2-'l3  (lo). 

Marchesi,  Blanche.  (Mezzo-soprano.)  '99  (l). 

Margulies,  Adele.  (Piano.)  '83-'8s-'87  (3). 

236 


APPENDIX 

Marshall,  Gertrude.  (Violin.)  '13  (i). 

Marshall,  John  P.  (Organ.)  'i2-'i4  (2). 

Marsick,  Martin.  (Violin.)  '96  (2). 

Marteau,  Henri.  (Violin.)  '92-'93-'o6  (7). 

Martin,  Carl  E.  (Bass.)  '86-'89  (2). 

Martin,  Frederick  L.  (Bass.)  '99-'oi-*02  (3). 

Materna,  Amalia.  (Soprano.)  '94-'96  (7). 

Mauguiere,  M.  (Tenor.)  '94  (i). 

Mead,  Olive.  (Violin.)  '98-'99-'o2-*04-'os  (10). 

Meisslinger,  Louise.  (Mezzo-soprano.)  'SS-'Sg  (8). 

Melba,  Nellie.  (Soprano.)  '9O-'94-'95-'96-'97-'oi-'03-'07-'l0  (28). 

Mero,  Yolande.  (Piano.)  '11  (i). 

Merrill,  Carl.  (Trumpet.)  '13  (2). 

Merrill,  L.  B.  (Bass.)    '04  (i). 

Methot,  Minnie.  (Soprano.)  '04  (l). 

Meyn,  Heinrich.  (Baritone.)  '9l-'92-*93  (7). 

Mielke,  Antonia.  (Soprano.)  '91  (6). 

Miller,  Christine.  (Contralto.)  '14  (i). 

Mills,  VVatkin.  (Baritone.)  '95  (i). 

Milwaukee  Arion  Club.  '90  (i). 

Mole,  Charles.  (Flute.)  '87-'89-'90-'9l-'92-'93-'94  (12). 

Morawski,  Ivan.  (Baritone.)  '89  (i). 

Morena,  Berta.  (Soprano.)  'o9-'io-'il  (3). 

Morgan,  Geraldine.  (Violin.)  '92  (i). 

Mueller,  VVilhelm.  (Violoncello.)  '82-83  (4). 

Neitzel,  Otto.  (Piano.)  '06(1). 

Neruda,  Norman.   See  Halle,  Lady. 

New  England  Conservatory  Choral  Club.  '08  (l). 

Nichols,  Marie.  (Violin.)  '05  (3). 

Nikisch,  Mrs.  Arthur.  (Soprano.)  '90-'9i-'92-'93  (29). 

Noack,  Sylvain.  (Violin.)  'o9-'io-'ii-'i2-'i3  (10). 

Norcross,  Webster.  (Bass.)  '86  (i). 

Nordica,  Lillian.  (Soprano.)  '83-'85-'9i-'92-'93-'94-'98-'o2-'i2  (23). 

Nowell,  George  M.  (Piano.)  '8s-'93  (2). 

Nowell,  Willis  E.  (Violin.)  '85  (i). 

O'Brion,  Mary  E.  (Piano.)  '83-'86-'88  (3). 

Olitzka,  Rosa.  (Contralto.)  '95-'oo  (2). 

Ondricek,  Franz.  (Violin.)  '95  (4). 

Ormond,  Lilla.  (Mezzo-soprano.)  'o6-'o7-'o8-*n-'l2  (9). 

Oumiroff,  Bogea.  (Baritone.)  '02  (i). 

Overstreet,  Corneille.  (Piano.)  '11  (i). 

Pachmann,  Vladimir  de.  (Piano.)  '9i-'o4  (10). 

Paderewski,  Ignace  Jan.  (Piano.)  '9i-'92-'93-'99-'o2-'o5-'o7-'o9-'i4  (33). 

Palmer,  Courtlandt.  (Piano.)  '01  (2). 

Parker,  George  J.  (Tenor.)  '86-'88-'89-'93  (4). 

Parker,  Horatio  W.  (Organ.)  'o2-'o4  (2). 


APPENDIX 

Parlow,  Kathleen.  (Violin.)  'ii-'i2  (13). 

Pauer,  Max.  (Piano.)  '13  (5). 

Paur,  Mrs.  Emil.  (Piano.)  '93-'94  (4). 

Perabo,  Ernst.  (Piano.)  '84  (i). 

Petschnikoff,  Alexander.  (Violin.)  'oo-'o6  (2). 

Philippbar,  Miss.  (Contralto.)  '91  (i). 

Phillipps,  Mathilde.  (Contralto.)  '82  (l). 

Philomena  [Female]  Quartet.  (Boston.)  '85  (l). 

Pittsburgh  Mozart  Club.  '87-'89-'90-'93  (4). 

Planfon,  Pol.  (Bass.)  '94-'96-'97  (6). 

Poole,  Clara.  (Contralto.)  '88  (i). 

Powell,  Maud.  (Violin.)  '87-92-0 i-'o;-' 1 2  (s). 

Powers,  Francis  F.  (Singer.)  '91  (i). 

Preston,  John  A.  (Piano.)  '82  (i). 

Proctor,  George.  (Piano.)  '96-'97-'98-'oo-'o3-'o4-'oS-*o6-'07-'l2-'l4  (14)- 

Pugno,  Raoul.  (Piano.)  '02  (4). 

Rachmaninoff,  Sergei.  (Piano.)  '09-' 10  (6). 

Radecki,  Olga  von.  (Piano.)  '82-'83-'86-'o7  (6). 

Randolph,  Harold.  (Piano.)  '97-02-' 10  (3). 

Rappold,  Marie.  (Soprano.)  'o8-'l2  (4). 

Rattigan,  James.  (Tenor.)  '10  (i). 

Reichmann,  Theodore.  (Baritone.)  '90-'9I  (4), 

Reisenauer,  Alfred.  (Piano.)  'os-'o6  (4). 

Reiter,  Xaver.  (Horn.)  '89  (2). 

Remmertz,  Franz.  (Bass.)  '85  (i). 

Renter,  Florizel  von.  (Violin.)  '02  (i). 

Rice,  Mrs.  Alice  B.  (Soprano.)  '11  (2). 

Riddle,  George.  (Reader.)  '86-'92-'94  (3). 

Rider-Kelsey,  Corinne.  (Soprano.)  'og-'io-'ll  (12). 

Rieger,  William  H.  (Tenor.)  '91  (4). 

Rive-King,  Julie.   See  King,  Julie  Rive-. 

Rogers,  Francis.  (Baritone.)  '00  (l). 

Rolla,  Kate.  (Contralto.)  '96  (i). 

RoUwagen,  Louise.  (Contralto.)  '84  (4). 

Rosenthal,  Moritz.  (Piano.)  '88-'96-'98-'o6  (9). 

Roth,  Otto.  (Violin.)  '89-'90-'9i-'92-'93-'94-'oi  (8). 

Ruebner,  Cornelius.  (Piano.)  'oj  (i). 

Ruegger,  Elsa.  (Violoncello.)  '99-'o2-'o3-'o6  (lo). 

Rummel,  Franz.  (Piano.)  'go-'gi  (2). 

Saint-Saens,  Camille.  (Piano.)  '06  (i). 

Saint-Saens,  Camille.  (Organ.)  '06  (i). 

Saleza,  Albert.  (Tenor.)  '99  (3). 

Samaroff,  Olga.  (Piano.)  'o6-'o7-'o8-'o9-'io-'l2  (26). 

Sanford,  Samuel  S.  (Piano.)  '02  (i). 

Sapio,  Clementine  de  Vere-.  (Soprano.)  '90-'9l-'95-'99-'oo  (17). 

Sargent,  Sullivan  A.  (Bass.)  '92-'o6-'o4  (3). 

Sassoli,  Ada.  (Harp.)  '03  (i). 


238 


APPENDIX 

Sauer,  Emil.  (Piano.)  '98-*99-'o8  (s). 

Sauret,  Emile.  (Violin.)  '96-'o4  (3). 

Sautet,  A.  (Oboe.)  '88  (i). 

Scalchi,  Sofia.  (Contralto.)  '87-*94-'95  (4)- 

Scharwenka,  Xavier.  (Piano.)  '9i-'92-'ii-*i3  (4). 

Schelling,  Ernest.  (Piano.)  'o5-'o8-'o9  (9). 

Schiller,  Madeline.  (Piano.)  '82-'83  (3). 

Schmidt,  Louis.  (Violin.)  '82-'84  (4). 

Schnitzer,  Germaine.  (Piano.)  'o7-'o9-'i3  (3). 

Schnitzler,  Ignatz.  (Violin.)  '92-'94-'9S-'97-'oo  (6). 

Schott,  Anton.  (Tenor.)  '95  (5). 

Schroeder,  Alwin.    (Violoncello.)    '9l-'92-'93-'94-'95-*96-'97-'98-'99-'oo- 

'oi-'o2-'o3-'o8-'io-'ii-'i2  (86). 
Schumann-Heink,  Ernestine.  (Contralto.)  '99-'oo-'o2-'o3-'o4-'o7-'o8-'o9- 

'11  (23)- 
Schuecker,  Heinrich.  (Harp.)  '86-'92-'o3  (3). 
Schulz,  Leo.  (Violoncello.)  '89-'90-'9i-'94-'95-'96-*97-'98  (12). 
Sembrich,  Marcella.  (Soprano.)  '99-'oo-'lo  (7). 
Seydel,  Irma.  (Violin.)  '12  (i). 

Sherwood,  William.  (Piano.)  '8i-'82-'84-'92-'93  (7). 
Shirley,  Clarence  B.  (Tenor.)  '14  (i). 
Siemens,  Frieda.  (Piano.)  '01  (i). 
Sieveking,  Martinus.  (Piano.)  *9S-'96  (6). 
Siloti,  Alexander.  (Piano.)  '98  (2). 
Simms,  Hattie  L.  (Soprano.)  '83  (i). 
Sites,  Mrs.  Minna.  (Piano.)  '86  (i). 
Slivinski,  Josef.  (Piano.)  '02  (i). 
Smith,  Marie  Barnhard.   See  Barna,  Marie. 
Smith,  Winifred.  (Violin.)  '03  (i). 
Snelling,  Lillia.  (Mezzo-soprano.)  '07  (i). 
Spencer,  Janet.  (Contralto.)  'oi-'o2-'io-'il  (4). 
Starkweather,  Mrs.  Maud.  (Soprano.)  '86  (i), 
Stasny,  Carl.  (Piano.)  '92-'94-'o3  (3). 
Staudigl,  Josef.  (Bass.)  '97-98  (2). 
Stavenhagen,  Bernhard.  (Piano.)  '95  (2). 
Stein,  Gertrude  May.  (Contralto.)  '97-'99-'oo-'o9  (12). 
Steinbach-Zahns,  Mme.  (Soprano.)  '90  (21). 
Stewart,  Rose.  (Soprano.)  '83-'84-'87-'89-'90-'99  (6). 
Steininger,  Anna  Clark.  (Piano.)  '85-'86-'90  (5). 
Stern,  Constanton.  (Piano.)  '93  (i). 
Stosch,  Leonard  von.  (Violin.)  '92-'93  (2). 
Strasser,  E.  (Clarinet.)  '84  (2). 
Sumner,  George.  (Piano.)  '81  (l). 
Sundelius,  Marie.  (Soprano.)  'ii-'i3-'i4  (4). 
Szumowska,  Antoinette.  (Piano.)  '95-'96-'98-'99-'o3-'04-'os-'o6  (18). 

Ternina,  Milka.  (Soprano.)  '96-'oo-'oi-'l2  (15). 
Teyte,  Maggie.  (Soprano.)  '13  (i). 
Thomson,  Cesar.  (Violin.)  '94  (7). 

239 


APPENDIX 

Thompson,  Edith.  (Piano.)  'oo-'io  (3). 

Thursby,  Emma.  (Soprano.)  '90  (2). 

Thursday  Morning  Club.   (Musical  Art  Club.)  'o3-'o6-'lI  (3). 

Ticknor,  Howard  M.  (Reader.)  '84-'8s  (2). 

Titus,  Marian.  (Soprano.)  '97-'98-'99  (6). 

Toedt,  Theodore  J.  (Tenor.)  '8i-'83-'84-'86  (6). 

Tonlinquet,  Marie.  (Contralto.)  '97  (2). 

Trebelli,  Antoinette.  (Soprano.)  '94  (i). 

Trebelli,  Zelie.  (Contralto.)  '87  (i). 

Tua,  Teresina.  (Violin.)  '87  (2). 

Tucker,  Hiram  G.  (Piano.)  '83-'87-'90  (3). 

Urack,  Otto.  (Violoncello.)  'i2-'i3  (6). 
Urso,  Camilla.  (Violin.)  '88-'92  (2). 
Utassi,  Etelka.  (Piano.)  '88  (i). 

Van  Endert,  Elizabeth.  (Soprano.)  '14  (10). 

Van  Hoose,  Ellison.  (Tenor.)  'oi-'o3-'o4-'oS  (l2^ 

Van  Norden,  Berrick.  (Tenor.)  '10  (i). 

Van  Rooy,  Anton.  (Baritone.)  'o2-'o8  (5). 

Van  Yorx,  Theodore.  (Tenor.)  'oi-'o4-'o9  (4). 

Vieh,  George  C.  (Piano.)  'io-'i3  (2). 

Vere-Sapio,  Clementine  de.  See  Sapio,  Clementine  de  Vere 

Walker,  Edyth.   (Soprano.)  '06  (i). 

Walker,  William  W.  (Bass.)  '00  (i). 

Ward,  Alice  C.  (Soprano.)  '82  (2). 

Warnke,  Heinrich.  (Violoncello.)  'os-'o6-'o7-'o8-'o9-'io-'il-'i2-'l3  (25). 

Washington  Choral  Society.    '89  (i). 

Webber,  Charles  F.  (Tenor.)  '83-'84-'86-'89  (5) 

Webber,  Mrs.  Charles  F.  (Soprano.)  '84  (l) 

Weld,  Frederick.  (Bass.)  '10  (i). 

Welsh,  Ita.  (Mezzo-contralto.)  '84  (i). 

Wendling,  Cari.  (Violin.)  'o7-'o8  (7). 

Wentworth,  Alice.  (Soprano.)  '9i-'92  (2). 

Wetzler,  Minnie.  (Piano.)  '93  (3). 

Whinnery,  Abbie.  (Contralto.)  '83  (i). 

White,  Carolina.  (Soprano.)  '11  (2). 

White,  Priscilla.  (Soprano.)  '92-'93  (4). 

Whiting,  Arthur  B.  (Piano.)  '83-'88-'96-'97-'oi  (5). 

Whitney,  Myron  W.,  Jr.  (Baritone.)  'o4-'o6-'o9  (4). 

Whittier,  Harriet  S.  (Soprano.)  '94  (l). 

Wickham,  Madge.  (Violin.)  '88  (i). 

Wienszkowska,  Melanie.  (Piano.)  '98  (l). 

Wilks,  Norman.  (Piano.)  '13  (5). 

Williams,  Evan,  (Tenor.)  '98-'99-'oo  (5). 

Williams,  Grace  B.  (Soprano.)  '04  (i). 

Wilson,  G.  Clark.  (Singer.)  '95  (i). 

Winant,  Emily.  (Contralto.)  '8i-'82-'83-'84-'8s-'86-'89  (lo). 

240 


APPENDIX 

Winch,  William  J,  (Tenor.)  '8s-'89-'90-'9i-'92  (9). 

Winternitz,  Felix.  (Violin.)  'o2-'os  (2). 

Witek,  Anton.  (Violin.)  'io-'ii-'i2-'i3-'i4  (21). 

Witherspoon,  Herbert.  (Bass-baritone.)  'oo-'l2  (3). 

Woltmann,  Pauline.  (Contralto.)  '04  (i). 

Wood,  Anna  Miller.  (Contralto.)  '98-'o6  (2). 

Wiillner,  Ludwig.  (Baritone.)  '08  (i). 

Wyman,  Julie.  (Mezzo-soprano.)  '88-'9O-'9l-'92-'94-'9S-'04  (20). 

Ysaye,  Eugene.  (Violin.)  '94-'o4-'l3  (8). 

Zach,  Max.  (Viola.)  '04  (4). 
Zimbalist,  Efrem.  (Violin.)  'll  (l). 
Zimnxermann,  Paul.   (Tenor.)  '89  (i). 


241 


APPENDIX  B 

THE  PERSONNEL.  The  terms  of  service  of  the  six 
conductors,  and  of  all  members  of  the  Orchestra,  are  given  be- 
low. The  summary  that  follows  gives  the  composition  of  the 
Orchestra  in  the  first  season  under  each  conductor  in  turn. 

THE  CONDUCTORS 


Georg  Henschel 

1881- 

1884 

Wilhelm  Gericke 

1884- 

■1889 

Arthur  Nikisch 

1889-1893 

Emil  Paur 

1893- 

1898 

Wilhelm  Gericke 

1898- I 906 

Karl  Muck 

I 906- I 908 

Max  Fiedler 

1908- 

1912 

Karl  Muck 

19 12- 

THE  PLAYERS 

Abloescher,  J. 

Trombone 

1891-1898 

Adamowski,  J. 

'Cello 

5  1889-1901 
( 1 902- 1 907 

Adamowski,  T. 

Violin 

1  1884-1887 
I  1888-1907 

Agnesy,  K. 

Bass 

1907- 

Akeroyd,  E. 

Clarinet 

1888-1889 

Akeroyd,  J. 

Violin 

1881-1913 

Akeroyd,  V. 

Violin 

1881-1887 

Allen,  C.  N. 

Violin 

1881-1882 

Alloo,  M. 

Trombone 

1911- 

Arbos,  E.  F. 

Concert-: 

master 

1903-1904 

Bagley,  E.  M. 

Trumpet 

1881-1886 

Bak,  A. 

Violin 

1900- 

Baraniecki,  A. 

Violin 

1913- 

Bareither,  G. 

Bass 

5  1882-1885 
I  1887-1907 

Barleben,  C. 

y  Viola 
Violin 

'  I 894-1900 
;  1903-1912 

Barth,  C. 

'Cello 

1894- 

Barth,  C. 

Bass 

1888-1903 

242 


APPENDIX 


Barth,  W. 

Drums 

1900-1901 

Battles,  A. 

Flute 

1908-191 I 

Bayrhoffer,  C. 

'Cello 

1881-1882 

Beckel,  J. 

Bass 

1885-1888 

Behr,  C. 

'Cello 

1881-1891 

Behr,  J. 

Violin 

1881-1884 

Belinski,  A.  V. 

Violin, 

1902-1903 

Belinski,  M. 

'Cello 

5  1902-1903 
(1909- 

Bennett,  J.  C. 

Violin 

1884-1885 

Beresina,  C. 

Violin 

1885-1886 

Berger,  H. 

Violin 

1890- 

Berliner,  W. 

Viola 

1912- 

Bernhardi,  E.  F.,  Jr. 

Bassoon 

1883-1886 

Beyer,  E. 

Viola 

1881-1885 

Birnbaum,  E.  A. 

Violin 

1903-1904 

Blaess,  A. 

'Cello 

I 896- I 902 

Bletterraann,  J. 

Bass 

1881-1885 

Blumenau,  W. 

Viola 

1912- 

Boehm,  G. 

Violin 

1890-1892 

Boernig,  H. 

Bass 

I 892- I 894 

Bower,  H. 

Cymbals 

1904-1907 

Bowron,  B. 

Trumpet 

5  1881-1885 
i  1886-1887 

Brenton,  H.  E. 

Trumpet 

1902-1907 

Brooke,  A. 

Flute 

1896- 

Burkhardt,  H. 

Violin 

1891-1892 

Triangles,  etc. 

1905- 

Butler,  H.  J. 

Bass 

5  1881-1902 
i  1903-1907 

Campanari,  G. 

'Cello 

1885-1893 

Campanari,  L 

Violin 

1884-1886 

Chevrot,  A. 

Flute 

1912- 

Cook,  T.,  Jr. 

Violin 

1884-1885 

Currier,  F.  S. 

Violin 

1905-1912 

Cutter,  B. 

Viola 

5  1881-1882 
i  I 884-1 885 

Czerwonky,  R. 

Violin 

I 907- I 908 

Dannreuther,  G. 

Violin 

1881-1883 

Debuchy,  A. 

Bassoon 

1901-1907 

Dehn,  J.  W. 

Violin 

1882-1884 

De  Lisle,  Ch. 

Violin 

1888-1892 

Demuth,  L. 

Oboe 

1883-1896 

De  Ribas,  A.  L 

Oboe 

1881-1882 

De  Seve,  A. 

Violin 

5  1881-1882 
I  1883-1885 

Deutsch,  S. 

Violin 

1885-1888 

243 


APPENDIX 


Dietsch,  C. 
Dorn,  W. 
Dworak,  J.  F. 

Eichheim,  H. 
Eichler,  C.  H. 
Eichler,  J.  E. 
Eichler,  J.  E.,  Jr. 
Elkind,  S. 
Eller,  M. 
Eltz,  P. 
Eltz,  R. 

Fabrizio,  C. 
Ferir,  Emil 
Fiedler,  B. 
Fiedler,  E. 
Fischer,  P. 
Fiumara,  P. 
Flockton,  J.  M. 
Folgmann,  E. 
Forster,  E. 
Fosse,  P. 

Fox,  P. 

Franko,  S. 
Freygang,  A. 
Fries,  W. 
Fritsche,  O. 
Fuhrmann,  M. 

Gantzberg,  J. 
Gebhard,  W. 
Geiersbach,  K. 
Gerardi,  A. 
Gerhardt,  G. 
Gewirtz,  J. 
Giese,  F.  K.  E. 
Gietzen,  A. 
Goddard,  D.  A. 
Golde,  E. 
Goldschmidt,  G. 
Goldstein,  A. 
Goldstein,  H. 
Goldstein,  S. 
Gordon,  T. 
Greene,  H.  A. 


Bassoon 

Violin 

Tuba 

Violin 

Violin 

Violin 

Violin 

Bass 

Oboe 

Bassoon 

Viola 

Violin 

Viola 

Violin 

Violin 

Oboe 

Violin 

Bass 

'Cello 

Viola 

Oboe 

Flute 

Violin 

Harp 

'Cello 

Bass  clarinet 

Bassoon 

Violin 

Horn 

Viola 

Violin 

Bass 

Violin 

'Cello 

Viola 

Trombone 

Tuba 

Clarinet 

Bass 

Violin 

Violin 

Violin 

Bass 


1882-1893 
1881-1882 
1900-1910 

1891-1912 

1881-1885 
1881-1894 
1886-1912 
I 894- I 908 
1884-1885 
1881-1883 
1881-1882 

1910-1912 

1903- 

1897- 

1885-1910 

1881-1882 

1885- 

1881-1882 

1912- 

1910-1914 

1912-1914 

•1881-1885 
1886-1887 
1889-1891 

. 1892-1912 
1885-1886 
1881-1886 
1881-1882 
1901-1907 
19 12- 

1888-1891 

1907-1912 

1884-1886 

1912- 

1885- 

1913- 

1884-1889 

1904- 

1886-1887 

1888-1898 

I 889-1 894 

1882-1895 

1907- 

1885- 

1892-1893 

1881-1894 


244 


APPENDIX 


Grethen,  A. 
Grisez,  G. 

Grunberg,  E. 

Griinberg,  M. 
Guenzel,  F.  H. 
Guetter,  A. 
Gumpricht,  A. 
Gunderson,  R. 

Habenicht,  W. 

Hackebarth,  A. 

Hadley,  A. 
Hahn,  F.  E. 
Hain,  F. 
Haldemann,  H. 

Hampe,  Carl 

Hanneman,  D. 

Hartmann,  H. 

Hausknecht,  J. 

Hayne,  E. 
Heberlein,  H. 
Heim,  G.  F. 

Heindl,  A. 

Heindl,  E.  M. 
Heindl,  H. 
Hekking,  A. 
Helleberg,  J. 
Hemmann,  H. 
Hess,  M. 

Hess,  W. 

Higgins,  C.  F. 

Hoffmann,  J. 
Holy,  A. 
Hoyer,  H. 
Huber,  E. 
Hiibner,  E. 
Human,  T. 

Jacquet,  L. 
Jaeger,  A. 
Jaenicke,  B. 


Violin 
Clarinet 

Viola 

Violin 

Bassoon 

Bassoon 

Horn 

Violin 

Violin 

Horn 

'Cello 
Violin 
Horn 
Violin 

Trombone 

Violin 

Violin 

Contra-bassoon  •] 

Violin 
'Cello 
Trumpet 

•Cello 

Flute 

Viola 

'Cello 

Bassoon  and  coatra>bassoon 

Oboe 

Horn 

Concert-master 

Violin 

Violin 

Harp 

Viola 

Bass 

Horn 

Violin 

Flute 
Bass 
Horn 


1882-1884 
1904-1914 

5 1889-1892 
i 1893-1896 
1910- 
1886-1906 
1891-1894 
1881-1882 
1913- 

1912- 
j  1882-1885 
I  1890-1913 

1904-1912 

1892-1897 

1891- 

1881-1883 
( 1886-1891 
i  1892-1914 

1888-1893 
5  1881-1882 
l  1884-1885 

1881-1882 

on  call  only 
1912-1914 
1899-1908 
1906- 

5  1881-1894 

(  I900-I907 
1881-1896 
I88I-19I1 
I889-I891 
1901-1910 

1882-1883 
I90S- 

(  1904-1907 
1 1908-1910 

i 1881-1883 

1  1884-1889 
1890- 

I9I3- 

1887-1912 

1907- 

I9I2- 
1882-1891 

I895-I898 
1910- 

I9I3- 


245 


APPENDIX 


Jennewein,  L. 
Jonas,  E. 

Kaestl,  M. 
Kandler,  F. 
Kautzenbach,  A. 
Keller,  J. 
Keller,  K. 
Kenfield,  L.  S. 
Kirchner,  A. 
Klein,  M. 
Kloepfel,  L. 
Kluge,  M. 
Knecht,  J. 
Kneer,  J. 
Kneisel,  F. 
Kneisel,  J. 
Koessler,  M. 
Kohlert,  J. 
Kolster,  A. 
Korth,  M. 
Krafft,  F.  W. 
Krasselt,  R. 
Krauss,  O.  H. 

Kuehn,  R. 

Kuntz,  A. 
Kuntz,  D. 
Kunze,  M. 

Kurth,  R. 


Lafricain,  E.  N. 

Lebailly,  M. 
Lenom,  C. 
Lichtenberg,  L. 
Lippoldt,  L. 
Listemann,  B. 
Listemann,  F. 

Litke,  H. 

Litke,  P. 
Loeffler,  C.  M. 
Loeffler,  E. 
Longy,  G. 
Lorbeer,  H. 
Lorenz,  O. 
Ludwig,  C.  F. 


Bass 
'Cello 

Violin 

Tympani 

'Cello 

'Cello 

'Cello 

Trombone 

Bassoon 

Violin 

Trumpet 

Viola 

Viola 

Violin 

Concert-master 

Violin 

Violin 

Flute 

Violin 

'Cello 

Violin 

'Cello 

Viola 

Violin 

Violin 
Violin 
Bass 

Violin 


Trumpet 

Clarinet 

Oboe 

Violin 

Horn 

Concert-master 

Violin 

Bassoon 

Bassoon 

Violin 

'Cello 

Oboe 

Horn 

Tuba 

Castanets 


1881-1890 
1882-1886 

1892-1893 
1907- 
1907-1910 
1898- 
1895-1910 
1900- 
1895-1896 
1883-1886 
1898- 
1885-1913 
1887-1897 
1887-1890 
1885-1903 
1885-1904 
1912- 
1885-1886 
1883-1912 
1881-1890 
1888-1912 
1903-1904 
I 894- I 909 
f  1885-1887 
I  1888-1891 
1896-1910 
1881-1914 
1894- 

5 1883-1891 
1  1892- 

( 1887-1893 

<  1896-1897 

{ 1900-1902 

1901-1904 

1901- 

1882-1885 

1881-1886 

1881-1885 

1881-1885 

5  1894-1901 

( 1907-1908 

1896-1901 

1882-1903 

1882-1909 

1898- 

1891- 

1907-1913 

190S-1907 


246 


APPENDIX 


Ludwig,  C.  R. 
Ludwig,  O. 

Mahn,  F.  L. 

Mann,  J. 
Manoly,  L.  E. 
Maquarre,  A. 
Maquarre,  D. 

Marble,  E.  B. 

Marquardt,  J. 
Mattersteig,  P. 
Mausebach,  A. 

Meisel,  C. 

Melzian,  W. 
Merrill,  Carl 
Messerschmidt,  A. 
Metzger,  P. 
Meyer,  F. 
Michael,  J. 
Miersch,  E. 
Miersch,  J. 
Milcke,  M. 
Mimart,  Paul 

Mingels,  H. 

Moldauer,  A. 
Mole,  C. 

MoUenhauer,  Emil 
Moore,  D.  H. 
Mosbach,  J. 
Mueller,  F.. 

Mueller,  Friedrich  C. 

Mueller,  P. 
Mueller,  VVilhelm 
Mullaly,  H. 

MuUaly,  J.  C. 


Nagel,  R. 
Nast,  L. 
Neumann,  S. 
Nichols,  W.  C. 
Noack,  S. 
Novacek,  0. 


Tympani 
Bass 


Violin 

Cornet 
Bass 
Flute 
Flute 

Violin 

Violin 
Tuba 
Trombone 

Violin 

Bass  tuba 

Trumpet 

Bass 

Clarinet 

Trombone 

Violin 

Horn   j 

Violin 

Violin 

Clarinet 

'Cello 

Violin 

Flute 

Violin 

Trombone 

Contra-bassoon 

Bassoon 
5  Oboe  I 

\  English  horn  ) 

Trumpet 

'Cello 

Violin 

Violin 


'Cello 

'Cello 

Tympani 

Tuba  and  librarian 

Violin 
Violin 


1890-1910 
1908- 

5 1887-1888 
I1889- 

1891- 

1882-1885 

1898- 

1903-1909 
(■  1882-1907 
J  1908-1913 

I 886- I 889 

1913- 

1898- 

5  1881-1882 
1  1883-1885 
1885-1888 
1904-1914 
1881-1883 
1882-1905 
I 897- I 900 
1885-1900 
1913- 
1891-1892 
1905-1906 
1905- 
5  1885-1891 
\  1893-1902 
1885-1907 
1887-1896 
1884-1889 
1881-1886 
1910- 
1908- 

1885- 

1888-1900 

1882-1885 

1881-1883 

f 1884-1885 

<  1885-1890 

( 1905-1913 

1894- 
1904- 
1910- 

1881-1891 

1908- 

1891-189* 


247 


APPENDIX 


Oliver,  F.  A. 

Violin 

1881-1887 

Ondricek,  K. 

Violin 

1893-1906 

Pabst,  G. 

Bass 

1885-1887 

Pat2,  G.  A. 

Viola 

5  1881-1887 
I  1888-1891 

Pauer,  0.  H. 

Viola 

1911-1914 

Pechmann,  Leo 

Oboe 

1883-1884 

Phair,  J.  A. 

Horn 

190S-1913 

Pinfield,  C.  E. 

Violin 

191 2- 

Post,  Louis 

Viola  and  contra-bassoon 

1881-1894 

Pourtau,  Leon 

Clarinet 

I 894-1 898 

Proctor,  J.  B. 

Violin 

1881-1885 

Regestein,  Ernst 

Bassoon 

1 1881-1882 
( 1904-1912 

Reibi,  C. 

'Cello 

1885-1894 

Reinhart,  A. 

Bass 

^  1888-1892 
( 1 894-1 895 

Reiter,  J. 

Horn 

1889-1890 

Reiter,  Xaver 

Horns 

1886-1890 

Rennert,  Bruno 

Violin 

1907-19 I I 

Resch,  A. 

Horn 

1913- 

Rettberg,  A. 

Drums 

1898-1912 

Ribarsch,  A. 

Violin 

1907- 

Rietzel,  Wm. 

Viola 

188 1-1894 

Rigg,  A. 

Trombone 

5  1881-1886 
i  1891-1897 

Rissland,  K. 

Violin 

1894- 

Rogers,  L.  J. 

Assistant  librarian 

1912- 

Rohde,  W. 

Viola 

1885-1886 

Rose,  E.  i 

'Cello 

1891-1900 

Ross,  Wilhelm 

Oboe 

1882-1883 

Roth,  Otto 

Violin 

1887- 

Ryan,  T. 

Viola 

1883-1885 

Sadony,  P. 

Bassoon 

1905- 

Sailer,  Adolph 

'Cello 

1887-1889 

Sauer,  G.  F. 

Viola 

5  1890-1892 
i  1894-1909 

Sauerquell,  J. 

Librarian 

1889- 

Sautet,  A. 

Oboe 

1887-1912 

Scheurer,  K. 

Viola 

1907-1909 

Schlimper,  F.  W. 

Viola 

1881-1882 

Schmedes,  Hakon 

Violin 

1903-1905 

Schmid,  K. 

Horn 

1907-1909 

Schmidt,  Ernst 

'Cello 

1882-1885 

Schmidt,  L.,  Jr. 

Violin 

1882-1885 

Schneider,  Julius 

Horn 

1885-1893 

248 


APPENDIX 


Schnitzler,  I. 

Violin 

1892-1900 

Schormann,  E. 

Horn 

1881-1891 

Schroeder,  Alwin 

'Cello 

_  1891-1903 
1910-1912 

Schuchmann,  Frank  E. 

Violin 

1881-1907 

Schuecker,  Heinrich 

Harp 

1886-1913 

Schulz,  Leo 

'Cello 

1889-1898 

Schumann,  C. 

Horn 

1881-1912 

Schurig,  R. 

Bass 

1902- 

Schwerley,  P. 

Viola 

19 12- 

Selmer,  A. 

Clarinet 

1898-1901 

Senia,  T.  B, 

Percussion 

1904- 

Seydel,  T. 

Bass 

1894- 

Shuebruk,  R. 

Trumpet 

1885-1887 

Simpson,  H.  D. 

Tympani 

1881-1898 

Smalley,  R. 

'Cello 

I  1903-1904 
<  1906-19 I 2 

Sokoloff,  N. 

Violin 

1 904- 1 907 

Spoor,  S. 

Viola 

191 1- 

Sprunt,  C. 

Violin 

1900-1904 

Staats,  C.  L. 

Bass  clarinet 

I 896- I 897 

Stein,  Aug. 

Bass 

^1881-1885 
(  1887-1888 

Steinke,  B. 

•Cello 

1912- 

Steinmann,  H. 

Bass 

1881-1882 

Stewart,  George  W. 

'Trombone 

1881-1891 

Stockbridge,  A.  B. 

'Cello 

1881-1883 

Stolz,  E. 

Trombone 

1891-1892 

Strasser,  E. 

Clarinet 

1881-1888 

Strauss,  H. 

5  Violin 
i  Viola 

J  1881-1882 
I  1 884- 1 887 

Strube,  G. 

Violin 

1890-1913 

Stumpf,  Karl 

Bass  clarinet 

1907- 

Suck,  Aug. 

'Cello 

1881-1885 

Suck,D.  H. 

Violin 

1881-1882 

Svecenski,  Louis 

Violin  and  Viola 

1885-1903 

Swornsbourne,  W.  W. 

Violin 

1882-1908 

Tak,  E. 

Violin 

1912- 

Taubert,  Otto 

Violin 

1885-1894 

Theodorowicz,  J. 

Violin 

5 1 898-1903 
( 1907- 

Thomae,  A. 

Tuba 

I 898-1900 

Tischer-Zeltz,  H. 

Violin 

^1885-1891 
( 1892-1914 

Tower,  R.  E. 

Viola 

1881-1883 

Traupe,  W. 

5  Viola 
I  Violin 

1901-1905 
1905-1907 

Trautmann,  C. 

Violin 

1881-1884 

249 


APPENDIX 


Urack,  Otto 

Vannini,  A. 
Van  Raalte,  A. 
Van  Wynbergen,  C. 
Von  Ette,  Edw. 

Warnke,  H. 
Warnke,  J. 
Weintz,  C.  J. 
Weiss,  Albert 
Weiss,  E. 
Wendler,  G. 
Wendling,  Carl 
Werner,  H. 
Whitmore,  O.  A. 
Wiegand,  E. 
Witek,  A. 
Wittmann,  F. 

Zach,  Max 
Zahn,  F. 


'Cello 

Clarinet 
Violin 
Viola 
Viola 

'Cello 

'Cello 

Viola 

Oboe 

Violin 

Horn 

Concert-master 

Violin 

Clarinet 

Bass 

Concert-master 

Viola 

Viola 
5  Viola 
i  Percussion 


1912-1914 

1903- 

1881-1882 
1910- 

1881-1888 

190S- 

1908- 

1881-1883 

1896-1898 

1889-1890 

1909- 

1907-1908 

1908- 

1881-1882 

1885-1887 

1910- 

1913- 

1886-1907 
1891- 


SEASON  OF  1881-1882 

Conductor  —  Georg  Henschel 

First  violins,  13;  second  violins,  11;  violas,  lO;  violoncellos,  8j  double 
basses,  8;  flutes,  2;  oboes,  2;  clarinets,  2;  bassoons,  2;  contra-bassoon,  i; 
horns,  4;  trumpets,  2;  trombones,  3;  tuba,  i;  tympani,  l;  harp,  I.  Total, 
72  (including  4  temporary  members). 

SEASON  OF  1884-1885 

Conductor  —  Wilhelm  Gericke 

First  violins,  15;  second  violins,  14;  violas,  9;  violoncellos,  8;  double  basses, 
8;  flutes,  4;  oboes,  4;  clarinets,  2;  bassoons,  2;  horns,  4;  trumpets,  5;  trom- 
bones, 3;  tuba,  i;  tympani,  I;  harp,  I;  bass  drum  1.  Total,  81  (including 
7  temporary  members), 

SEASON  OF  1889-1890 

Conductor  —  Arthur  Nikisch 

First  violins,  17;  second  violins,  14;  violas,  10;  violoncellos,  9;  double 
basses,  8;  flutes,  3;  oboes,  3;  clarinets,  2;  bassoons,  2;  horns,  5;  cornets,  2; 
trombones,  3;  tuba,  i;  tympani,  l;  harp,  1;  librarians,  2.  Total,  84. 


250 


APPENDIX 

SEASON  OF  1893-1894 

Conductor  —  Emil  Paur 

First  violins,  16;  second  violins,  14;  violas,  lO;  violoncellos,  8;  basses,  8; 
flutes,  3;  oboes  (and  English  horn),  3;  clarinets,  2;  bassoons,  2;  horns,  4;  cor- 
nets, 2;  trombones,  3;  tuba,  i;  drums,  i;  tympani,  i;  harp,  i;  librarian,  i. 
Total,  8r. 

SEASON  OF   1 898-1 899 

Conductor  —  Wilhelm  Gericke 

First  violins,  16;  second  violins,  14;  violas,  10;  violoncellos,  10;  basses,  7; 
flutes,  3;  oboes  (and  English  horn),  3;  clarinets,  2;  bassoons,  3;  horns,  4; 
trumpets,  3;  trombones,  3;  drums,  i;  tympani,  i;  harp,  i;  tuba,  l;  librarian, 
I.  Total,  83. 

SEASON  OF  1906-1907 

Conductor  —  Karl  Muck 

First  violins,  16;  second  violins,  14;  violas,  10;  violoncellos,  ll;  basses,  8; 
flutes,  4;  oboes,  3;  English  horn,  l;  clarinets,  3;  bass  clarinet,  i;  bassoons,  4; 
horns,  6;  trumpets,  5;  trombones,  3;  tuba,  i;  tympani,  i;  drums  and  casta- 
nets, 1;  cymbals,  l;  triangle,  etc.,  i;  tambour,  1;  harp,  i;  librarian,  1.  Total, 
96. 

SEASON  OF  1908-1909 

Conductor  —  Max  Fiedler 

First  violins,  16;  second  violins,  15;  violas,  10;  violoncellos,  10;  basses,  8 
flutes,  5;  oboes,  3;  clarinets,  3;  bassoons,  3;  English  horn,  i;  bass  clarinet,'i 
contra-bassoon,  l;  horns,  8;  trumpets,  4;  trombones,  3;  tuba,  i;  harp,  l 
tympani,  2;  percussion,  4;  librarian,  1.  Total,  100. 

SEASON  OF   1912-1913 

Conductor  —  Karl  Muck 

First  violins,  16;  second  violins,  14;  violas,  10;  violoncellos,  10;  basses,  8; 
flutes,  4;  oboes,  3;  clarinets,  3;  bassoons,  3;  English  horn,  i;  bass  clarinet,  i; 
contra-bassoon,  i;  horns,  8;  trumpets,  4;  trombones,  4;  tuba,  i;  harp,  i; 
tympani,  2;  percussion,  3;  organ,  i;  librarians,  2.  Total,  100. 


251 


APPENDIX  C 

THE  REPERTOIRE.  The  following  list  includes  all 
orchestral  compositions  performed  by  the  Orchestra  from 
1881-82  to  19 1 3-14,  whether  in  Boston  or  in  other  places. 
The  date  given  is  that  of  the  first  performance,  O.,  indicating 
October;  N.,  November;  D.,  December;  J.,  January;  F., 
February;  Mr.,  March;  A.,  April;  My.,  May.  Unless  other- 
wise noted,  the  performance  took  place  in  Boston.  The  figure 
in  parenthesis  denotes  the  number  of  times  the  work  has  been 
given. 

Akimenko,  Theodor.  Lyric  poem,  Op.  20,  F.  26,  '04  (3). 

Albert,  Eugen  d'.  Concerto,  piano  and  orch..  No.  2,  Op.  12,  F.  3,  '05  (5). 
—  Concerto,  violoncello  and  orch.,  Op.  20,  Mr.  8,  '01  (8).  —  "Esther," 
overture,  F.  2,  '94  (i).  —  "The  improvisator,"  overture,  J.  i,  '04  (5).  — 
"The  ruby,"  prelude,  N.  29,  '95  (2).  —  Symphony,  No.  i,  D.  2,  '92  (i). 

Ambrosio,  Alfred  d'.  Concerto,  violin  and  orch..  Op.  29,  D.  20,  '07  (i). 

Arensky,  Anton.  Concerto,  piano  and  orch.,  Op.  2,  O.  13,  '99  (2). — 
"Nala  and  Damayanti,"  introduction,  J.  23,  '03  (i). 

Andersen,  Carl  Joachim.  Concerstuck,  flute  and  orch.  (Cambridge), 
A.  6,  '99  (i). 

AuBER,  Daniel  F.  E.  "Black  domino,"  overture,  D.  31, '98  (3).  —  "Carlo 
Broschi,"  overture,  N.  16,  '94  (10).  —  "Fra  Diavolo,"  overture  (Phila- 
delphia), Mr.  28,  '96  (i).  —  "Lac  des  fees,"  overture,  N.  17,  '82  (i).— 
"Masaniello,"  overture,  O.  13,  '82  (i).  —  "La  part  du  diable,"  overture, 
J.  20,  '82  (2).  —  "Prodigal  son,"  overture,  A.  11,  '95  (i). 

Bach,  Carl  Phillip  Emmanuel.  Symphony,  E-flat-major,  No.  2,  A.  10, 
'08  (2).  —  Symphony,  D-major,  N.  25,  '81  (3). 

Bach,  Johann  Sebastian.  Andante  and  Gavotte  for  strings  (arr.  by 
Bachrich),  Mr.  30,  '85  (9).  —  Chaconne,  D-minor  (orchestrated  by  Raff), 
A.  26,  '89  (3).  —  Concerto,  "Brandenburg,"  No.  3,  Mr.  8,  '07  (4).  —  Con- 
certo for  piano  and  orch.,  F-minor,  J.  2,  '13  (i).  —  Concerto  for  trumpet, 
flute,  oboe,  violin,  and  orch.,  No.  2,  F-major,  D.  27,  '01  (2).  —  Concerto  for 

252 


APPENDIX 

two  violins  and  string  orch.,  D-minor,  O.  lo,  '90  (i).  —  Concerto  for  violin 
and  orch.,  No.  i,  A-minor,  D.  5,  '02  (4).  —  Concerto  for  violin  and  orch., 
No.  2,  E-major,  D.  3,  '04  (3).  —  Passacaglia  (orchestrated  by  Esser), 
J.  28,  '87  (6).  —  Pastoral  from  Christmas  Oratorio  (arr.  by  R.  Franz), 
N.  21,  '84  (8).  —  Prelude,  Adagio  and  Gavotte  for  strings  (arr.  by  Bach- 
rich),  0.  17,  '84  (26).  —  Prelude  and  Fugue  (arr.  by  Abert),  N.  6,  '85  (3). 

—  Suite,  B-minor,  No.  2,  F.  12,  '86  (4).  —  Suite,  D-major,  No.  3  (Air  and 
Gavotte  only),  Mr.  16,  '83  (i).  —  Suite,  D-major,  No.  3,  D.  3 1,  '87  (14).  — 
Suite  for  flute  and  strings,  B-minor,  No.  2,  J.  19,  '94  (12).  —  Sinfonia 
(Shepherd's  music),  from  Christmas  Oratorio,  D.  21,  '94  (5).  —  Three 
sonato  movements  for  orch.  (Arr.  by  Gericke),  J.  30,  '85  (7).  —  Toccata 
in  F.  (orchestrated  by  Esser),  J.  20,  '82  (4). 

Balakireff,  M.  a.  Overture  on  theme  of  a  Spanish  march,  N.  24,  'n  (i). 

—  Symphony,  C-major,  Mr.  13,  '08  (i). 

Bantock,  Granville.  "Dante  and  Beatrice,"  poem  for  orch.,  O.  27,  '11 
(i).  —  "The  Pierrot  of  the  minute,"  comedy  overture,  O.  22,  '09  (5). 

Bargiel,  Woldemar.  Adagio  for  violoncello  and  orch.,  Op.  38,  D.  9,  '81 
(6).  —  "Medea,"  overture,  O.  31,  '84  (3).  —  "Prometheus,"  overture, 
O.  19,  '83  (2). 

Baitmgartner,  H.  Adagio  from  a  Symphony,  My,  21.  '86  (i). 

Beach,  Mrs.  H.  H.  A.  Concerto  for  piano  and  orch.,  Op.  45,  A.  6,  '00  (i). 

—  Symphony,  E-minor  ("Gaelic"),  O.  30,  '96  (4). 

Beethoven,  Ludwig  van.  Andante  cantabile  from  Trio,  Op.  97,  N.  7,  '84 
(3).  —  Concerto  for  piano  and  orch.,  No.  3,  A.  21,  '88  (7).  —  Concerto 
for  piano  and  orch.,  No.  4,  D.  16,  '81  (29).  —  Concerto  for  piano  and  orch.. 
No.  5,  J.  27,  '82  (48).  —  Concerto  for  violin  and  orch.,  D-major,  Op.  61, 
O.  30,  '85  (47).  —  Concerto  for  violin,  violoncello,  and  piano,  Op.  56,  J.  20, 
'82  (2).  —  "Coriolanus,"  overture,  F.  10,  '82  (35).  —  "Dedication  of  the 
House,"  overture,  O.  21,  '81  (14).  —  "Egmont,"  overture,  D.  16,  '8l 
(72).  —  "Egmont,"  Clarchen's  death,  F.  15,  '95  (2).  —  "Fidelio,"  over- 
ture, F.  22,  '83  (20).  — "King  Stephen,"  overture,  D.  8,  '83  (7).— 
"Leonore,"  overture,  No.  I,  F.  17,  '82  (9).  —  "Leonore,"  overture.  No.  2, 
F.  24,  '82  (16).  —  "Leonore,"  overture  No.  3,  Mr.  3,  '82  (in).  —  "Na- 
mensfeier,"  overture,  Mr.  22,  '83  (31).  —  "Prometheus,"  finale,  N.  17, 
'82  (11).  —  "Prometheus,"  selections  from,  D.  28,  '88  (i).  —  "Prome- 
theus," overture,  J.  18,  '84  (3).  —  Quartet  for  strings,  Op.  59,  No.  3,  D.  26, 
'84  (2).  —  Romanza  for  violin  and  orch.,  Op.  50,  J.  14,  '98  (3).  —  "Ruins 
of  Athens,"  overture,  F.  8,  '84  (2).  —  "Ruins  of  Athens,"  Turkish  march, 
D.  28,  '83  (3).  —  Septet,  Op.  20,  J.  16,  '85  (i).  —  Symphony,  No.  i, 
O.  28,  '8i  (21).  —  Symphony,  No.  2,  N.  il,  '81  (40).  —  Symphony,  No.  3, 
N.  18,  '81  (89).  —  Symphony,  No.  4,  D.  2,  '81  (50).  —  Symphony,  No.  5, 
D.  16,  '81  (114).  —  Symphony,  No.  6,  J.  6,  '82  (44).  —  Symphony,  No.  7, 
F.  3,  '82  (84).  —  Symphony,  No.  8,  F.  17,  '82  (59).  —  Symphony  No.  9, 
Mr.  10,  '82  (14).  — [.?] Symphony  ("Jena"),  C-major,  D.  29,  '11  (i). 


APPENDIX 

Beitdix,  Victor.  Symphony,  No.  4,  A.  26,  '07  (i). 

Bennett,  William  Sterndale.  Concerto  for  piano  and  orch,  No.  4,  J.  25, 
'14  (i).  —  "The  Naiads,"  overture,  F.  i,  '83  (3). 

Benoit,  Peter.  Symphonic  poem  for  flute  and  orch.,  N.  16,  '94  (2). 

Berger,  Wilhelm.  Symphony,  B-flat-major,  Op.  71,  N.  3,  '99  (2). 

Berlioz,  Hector.  "Benvenuto  Cellini,"  overture,  A.  6,  '88  (54).  —  "The 
corsair,"  overture,  J.  10,  '95  (i).  —  "Damnation  of  Faust,"  Menuet, 
Dance  of  sylphs,  Hungarian  march,  D.  22,  '82  (28).  —  "Fehnic  Judges," 
overture,  D.  5,  '02  (3).  —  "Harold  in  Italy,"  symphony,  F.  15,  '84  (27). 
—  "King  Lear,"  overture,  J.  11,  '84  (ll).  —  "Rob  Roy,"  overture,  J.  21, 
'10  (s).  —  "Roman  Carnival,"  overture,  J.  5,  '83  (65).  —  "Romeo  and 
Juliet,"  symphony,  F.  17,  '88  (ii).  —  "Symphonic  Fantastique,"  D.  18, 
'8S  (18). 

Bernard,  £mile.  Concerto  for  violin  and  orch.,  G-major,  J.  8,  '86  (l).  — 
Romance  for  flute  and  orch.,  J.  27,  '92  (i). 

Bird,  Arthur.  A  carnival  scene,  J.  6,  '92  (Young  People's)  (i).  —  Two 
episodes  for  orch.,  N.  i,  '89  (i). 

BiscHOFF,  Hermann.  Symphony,  Op.  16,  J.  3,  '08  (7). 

Bizet,  Georges.  "L'Arlesienne,"  suite.  No.  i,  N.  16,  '87  (Young  People's) 
(36).  —  "L'Arlesienne,"  suite.  No.  2,  My.  7,  '86  (Popular)  (ll). — 
"Carmen,"  entr'acte  and  ballet  music  (Providence),  N.  25,  '96  (4). — 
"Children's  games,"  little  suite,  D.  24,  '96  (9).  —  "Patrie,"  overture,  J. 
3,  '96  (6).  —  "Roma,"  suite.  No.  3,  F.  8,  '84  (2). 

BoccHERiNi,  LuiGi.  Minuet  in  A.,  N.  25,  '81  (3). 

BoEHE,  Ernst.  "Taormina,"  tone  poem,  Op.  9,  N.  29,  '07  (3).  —  Ulysses' 
departure  and  shipwreck,  from  "The  Voyage  of  Ulysses,"  Op.  6,  Mr.  2,  '06 
(I). 

Boellmann,  Leon.  Symphonic  variations  for  violoncello  and  orch.  (Wash- 
ington), F.  21,  '11  (s). 

Boieldieu,  FRAN901S  Adrien.  "Caliph  of  Bagdad,"  overture,  N.  30,  '83 
(i).  —  "La  dame  blanche,"  overture  (Popular),  My.  28,  '86  (l). 

Borodin,  Alexander.  Eine  Steppenskizze  aus  Mittel-Asien,  F.  26,  '92 
(3)-  —  Symphony,  No.  i,  J.  3,  '90  (3).  —  Symphony,  No.  2,  D.  13,  'l2  (6). 

Bossi,  Enrico.  Goldonian  intermezzi.  Op.  127,  O.  6,  '11  (5), 


APPENDIX 

BouRGAULT-DucouDRAY,  Louis  ALBERT.  "The  burial  of  Ophelia,"  0'i6, 
'96  (a). 

Brahms,  Johannes.  Academic  Festival,  overture,  N.  17,  '82  (54).  —  Con- 
certo for  piano  and  orch..  No.  I,  N.  30,  '00  (2).  —  Concerto  for  piano  and 
orch.,  No.  2,  Mr.  14,  '84  (17).  —  Concerto  for  violin  and  orch.,  D-major, 
Op.  77,  D.  6,  '89  (33).  —  Concerto  for  violin  and  violoncello,  A-minor, 
Op.  102,  N.  17,  '93  (10).  —  Hungarian  dance,  No.  j,  J.  12,  '83  (i). — 
Hungarian  dances,  Nos.  I,  2,  6,  N.  28,  '84  (ii).  —  Hungarian  dances, 
Nos.  I,  2,  3  (Worcester),  D.  17,  '84  (4).  —  Hungarian  dances,  Nos.  11, 
13,  I,  O.  6,  '82  (i).  —  Hungarian  dances,  Nos.  11,  12,  13,  14,  15,  J.  23,  '03 
(2).  —  Hungarian  dances,  Nos.  15,  17,  21,  Mr.  20,  '96  (3).  —  Serenade, 
A-raaJor,  Op.  16,  N.  j,  '86  (2).  —  Serenade,  D-major,  Op.  11,  O.  27,  '82 
(3).  —  Symphony,  No.  i,  D.  9,  '81  (59).  —  Symphony,  No.  2,  F.  24,  '82 
(78).  —  Symphony,  No.  3,  N.  7,  '84  (43).  —  Symphony,  No.  4,  J.  22,  '86 
(39).  —  Tragic  overture,  O.  28,  '81  (28).  —  Variations  on  a  theme  by 
J.  Haydn,  D.  5,  '84  (28).  —  Waltzes,  Op.  39,  A.  26,  '89  (13). 

Brockway,  Howard.  Sylvan  suite,  A.  5,  '01  (i).  —  Symphony,  D-major, 
Op.  12,  A.  5,  '07  (i). 

Bruch,  Max.  Concerto,  violin  and  orch.,  No.  i,  O.  20,  '82  (29).  —  Concerto, 
violin  and  orch..  No.  2,  Mr.  i,  '89  (8).  —  Concerto,  violin  and  orch..  No.  3, 
Mr.  4,  '92  (9).  —  Fantasia  on  Scottish  airs.  Op.  46,  N.  23,  '88  (19).  — 
Kol  Nidrei,  violoncello  and  orch.,  N.  15,  '89  (7).  —  "Lorelei,"  prelude, 
D.  15,  '82  (6).  —  Romanza,  violin  and  orch.,  Op.  42,  F.  16,  '94  (i).  — 
Serenade,  A-minor,  violin  and  orch.,  F.  10,  '05  (3).  —  Symphony,  No.  3, 
Mr.  2,  '83  (i). 

Bruckner,  Anton.  Symphony,  No.  3,  Mr.  8,  '01  (i).  —  Symphony,  No.  4, 
F.  10,  '99  (i).  —  Symphony  No.  5,  D.  27,  '01  (i).  —  Symphony  No.  7, 
J.  4,  '87  (7).  —  Symphony  No.  8,  Mr.  12,  '09  (3).  —  Symphony  No.  9, 
Mr.  31, '04  (4). 

Brull,  Ignaz.  "Macbeth,"  overture,  F.  i,  '01  (i). 

Bruneau,  Alfred.  "Messidor,"  entr'acte  symphonique,  O.  16,  '03  (5). 

BiJLOw,  Hans  von.  Funerale,  Op.  23,  No.  4,  A.  6,  '94  (i). 

Burmeister,  Richard.  Concerto,  piano  and  orch.,  D-minor,  J.  2,  '90  (i)." 

BusoNi,  Ferruccio.  Comedy  overture.  Op.  38,  N.  24,  '05  (i).  —  "Ge- 
harnischte,"  suite,  Mr.  30,  '06  (i).  —  Symphonic  suite,  Op.  25  (Gigue- 
Gavotte- Allegro),  F.  19,  '92  (i).  —  Symphonic  tone  poem,  A.  14,  '93  (i). 
—  "  Turandot,"  suite,  F.  17,   'll   (i). 

Caetani,  Roffredo.   Symphonic  prelude,  A-minor,  J.  27,  '05  (i). 

^55 


APPENDIX 

Chabrier,  Emmanuel.  "  Bourree  fantastique,"  for  orch.  (arr.  by  F. 
Motll.),  Mr.  3,  '99  (6).  —  "Espaiia,"  rhapsody  for  orch.,  O.  15,  '97  (30). — 
"Gwendoline,"  overture,  O.  23,  '96  (11).  —  "Gwendoline,"  prelude  to 
Act  II  (Philadelphia),  F.  7,  '94  (10). 

Chadwick,  George  W.  "Adonais,"  elegiac  overture,  F.  2,  '00  (i).  —  "Aph- 
rodite," symphonic  fantasie,  A.  4,  '13  (i).  —  "Cleopatra,"  symphonic 
poem,  D.  14,  '06  (4).  —  "Euterpe,"  concert  overture,  A.  22,  '04  (i). — 
"Melpomene,"  dramatic  overture,  D.  23,  '87  (8).  —  Pastoral  prelude, 
J.  29,  '92  (i).  —  Scherzo  in  F.  for  orchestra,  Mr.  7,  '84  (l).  —  Sinfonietta 
D-major,  F.  11,  '10  (i).  —  Suite  symphonique,  E-flat-major,  A.  13,  'll 
(l).  —  Symphonic  sketches,  F.  7,  '08  (3).  —  Symphony,  No.  2,  B-flat,  D 
10,  '86  (2).  —  Symphony,  No.  3,  F-major,  O.  19,  '94  (4).  —  "Thalia," 
overture,  J.  12,  '83  (i). — Theme,  variations  and  fugue  for  organ  and  orch., 
A.  8,  '09  (i). 

Charpentier,  Gustave.  "Impressions  of  Italy,"  suite,  Mr.  29,  '01  (8). 

Chausson,  Ernest.  Symphony,  B-flat,  Op.  20,  D.  4,  '05  (Philadelphia), 
(4).  —  "Viviane,"  symphonic  poem,  J.  31,  '02  (7). 

Cherubini,  Luigi.  "The  Abencerrages,"  overture,  Mr.  2,  '88  (3).  —  "AH 
Baba,"  overture,  D.  30,  '81  (i).  —  "  Anacreon,"  overture,  O.  24,  '84  (27). 

—  "Faniska,"  overture,  N.  18,  '81  (i).  —  "L'hotelliere  portugaise,"  over- 
ture, N.  3,  '82  (i).  —  "Lodoiska,"  overture,  O.  27,  '11  (3).  —  "Medea," 
overture,  O.  26,  '83  (3).  —  "Water  carrier,"  overture,  F.  22,  '84  (10). 

Chopin,  Frederic.  Andante  and  polonaise,  piano  and  orch.,  N.  3,  '82  (6). 

—  Concerto,  piano  and  orch.,  No.  i,  E-minor,  D.  22,  '82  (27).  —  Concerto, 
piano  and  orch..  No.  2,  F-minor,  Mr.  3,  '83  (27). 

Clapp,  Philip  Greeley.  "Norge,"  tone  poem  (Cambridge),  A.  29, '09  (l). 

—  Symphony,  E-minor,  A.  10,  '14  (i). 

Coerne,  Louis  Adolphe.  "Hiawatha,"  symphonic  poem,  A.  4,  '94  (i). 

Converse,  Frederick  Shepherd.  "Endymion's  Narrative,"  romance 
for  orch.,  A.  9,  '03  (2).  —  "Festival  of  Pan,"  romance  for  orch.,  D.  21, 
'00  (2).  —  "Jeanne  d'  Arc,"  dramatic  scenes  for  orchestra,  Mr.  6,  '08  (2). 

—  "Mystic  Trumpeter,"  orchestral  fantasy,  J.  25, '07  (2).  —  "Night" 
and  "Day,"  two  poems  for  piano  and  orch.,  J.  20, '05  (i).  —  "Ormazd," 
symphonic  poem  (Cambridge),  F.  8,  '12  (2).  —  Symphony,  D-minor, 
J.  13,  '98  (i). 

Cornelius,  Peter.  "Barber  of  Bagdad,"  overture,  0.  26.  '88  (17). 

CowEN,  Frederic  H.  Symphony,  No.  3  ("Scandinavian"),  J.  26,  '83  (6). 

—  Symphony,  No.  4  ("Welsh"),  D.  23,  '87  (i).  —  Symphony,  No.  6, 
("Idyllic"),  N.  23, '00  (i). 


256 


APPENDIX 

CuRRT,  Arthur  Mansfield.  "Atala,"  symphonic  poem,  A.  21,  '11  (i). 

Davidoff,  Carl.  Concerto,  violoncello  and  orch..  No.  3,  N.  25,  '92  (4). 

Davison,  Archibald  T.    "Hero  and  Leander,"  overture  (Cambridge),  A. 
23,  '08  (I). 

Debussy,  Achille  Claude.  "The  afternoon  of  a  faun,"  Prelude  for  orch., 
D.  30, '04  (24).  —  "Iberia,"  "Images,"  No.  2,  for  orch.,  A.  21,  '11   (7). 

—  "Rondes  des  Printemps,"  "Images,"  No.  3,  for  orch.,  N.  25,  '10  (3).  — 
"The  Sea,"  three  orchestral  sketches,  Mr.  i, '07  (s).  —  "Printemps," 
Suite  for  orch.,  J.  23,  '14  (i).  —  "Three  Nocturnes,"  Nos.  I-II  (Phila- 
delphia), D.  4,  '05  (3).  —  Nos.  I-II-III,  D.  II,  '08  (2). 

De  Koven,    Reginald.     Dance    and    march    of   the    gnomes,  J.  6,  '92 
(Young  People's)  (i). 

Delibes,  Leo.    "Sylvia,"  ballet  music:  Cortege  de  Bacchus,  O.  26,  '83  (2). 

—  Intermezzo  and  valse  lente,  Pizzicati,  F.  10,  '82  (7).  —  Pizzicati  (Wake- 
field), 0.  17, '83  (i).  — Waltz,  My.  14,  '86  (Popular)  (i). —  Prelude, 
intermezzo  and  Waltz,  Pizzicati,  Cortege  de  Bacchus  (Cambridge),  A.  4, 
'95  (4). 

Delius,  Frederick.    "Brigg  fair,"  English  rhapsody  for  orch.,  D.  2.  *io 
(l).  —  "Paris,"  a  night  piece  for  orch.,  N.  26,  '09  (l). 

Demersseman,  Jules  Auguste.     Concert   fantasie,   fiute   and   orch.,   on 
themes  from  "Oberon,"  N.  13,  '89  (Young  People's)  (4).  . 

De  Swerb,  Jules.  Concerto  for  violoncello  and  orch.,  D-minor,  N.  7, 

'84  (2). 

Dittersdorf,  Karl  von.  Symphony,  C-major,  J.  15,  '97  (i). 

Dohnanyi,  Ernst  von.  Concerto,  piano  and  orch.,  E-minor,  N.  2,  '00  (5). 

—  Concertstuck,  violoncello  and  orch.  (Indianapolis),  J.  29,  '08  (2).  — 
Symphony,  D-minor,  N.  27,  '03  (3). 

Draeseke,  Felix.  Jubilee  overture,  D.  8,  '99  (2). 

Dubois,  Theodore.  "Frithjof,"  overture,  F.  5,  '04  (i). 

Ducasse,  Roger.  Suite  fran^aise  in  D-major,  A.  15,  '10  (i). 

Dukas,  Paul.  "The  Sorcerer's  Apprentice,"  0.  21,  '04  (21). 

Duparc,  Henri.  "Lenore,"  symphonic  poem,  N.  4,  '96  (i). 

Dvorak  Antonin.    "Carnival,"  overture,  J.  4,  '95  (23).  —  Concerto  for 

257 


APPENDIX 

violin  and  orch.,  A-minor,  N.  i6,  'cx)  (5).  —  Concerto  for  violoncello  and 
orch.,  B-minor,  D.  18,  '96  (12).  —  "An  hero's  song,"  symphonic  poem, 
N.  17,  '99  (i).  —  " Husitska,"  overture,  N.  25, '92  (12).  —  "Legends," 
Op.  59  (first  set),  N.  5,  *86  (2).  —  "Nature,"  overture,  D.  6,  '95  (41). — 
"Othello,"  overture,  F.  5,  '97  (9).  —  "The  peasant  a  rogue,"  overture, 
Mr.  7,  '84  (i).  —  Rondo  for  violoncello  and  orch.,  Mr.  27,  '97  (2). — 
Scherzo  capriccioso,  Op.  66,  J.  27,  '88  (22).  —  Slavonic  dance,  No.  3,  D.  12, 
'82  (l).  —  No.  8,  F.  22,  '84  (i).  — Slavonic  dances,  Nos.  4,  i,  N.  4,  '81 
(i).  —  Nos.  6,  15,  Mr.  16,  '83  (i).  —  Slavonic  rhapsody,  No.  i,  D.  22,  '86 
(3).  —  Slavonic  rhapsody.  No.  2,  0.  20,  '93  (6).  —  Slavonic  rhapsody, 
No.  3,  O.  23,  '96  (4).  —  Suite  in  D,  Op.  39,  O.  21,  '87  (25).  —  Symphonic 
variations  on  an  original  theme.  Op.  78,  F.  21,  '89  (9).  —  Symphony,  No.  i, 
D-major,  O.  26,  '83  (6).  —  Symphony  No.  2,  D-minor,  O.  22,  '86  (11).  — 
Symphony,  No.  4,  G-major,  F.  26,  '92  (6).  —  Symphony  No.  5,  E-minor 
("From  the  new  world"),  D.  29,  '93  (48). —  "  Waldesruhe,"  adagio  for 
violoncello  (Cambridge),  J.  24,  '95  (6).  —  "The  Wood  Dove,"  symphonic 
poem,  0.  13,  '05  (4). 

EcKER,  VVenzel.  Concert  overture,  A.  21,  '88  (i). 

EcKERT,  Carl.  Concerto,  violoncello  and  orch.,  A-minor,  Op.  26,  N.  15, 
'89  (3). 

Elgar,  Edward.  "Chanson  de  Matin"  (Washington),  N.  7,  '05  (2). — 
"Chanson  de  Nuit"  (Washington),  N.  7,  '05  (2).  —  "Cockaigne,"  over- 
ture, N.  29,  '01  (7).  —  "In  the  South,"  concert  overture,  D.  29,  '05  (9).  — 
Symphony,  No.  I,  A-flat-major,  F.  26,  '09  (5).  —  Symphony,  No.  2, 
E-flat-major,  D.  i,  '11  (i).  —  Variations  on  an  original  theme  ("Enigma"), 
Op.  36,  D.  24,  '03  (6). 

Enesco,  Georges.  Rhapsodic  roumaine,  Op.  II,  No.  I,  F.  16,  '12  (4). — 
Suite  for  orch..  Op.  9,  Mr.  31,  '11  (s). 

Ernst,  Heinrich.  Concerto  for  violin  and  orch..  Op.  23  (Providence),  N.  16, 
'82  (3).  —  Fantasia  for  violin  on  airs  from  Rossini's  "Othello,"  N.  30,  '94 
(i).  —  Hungarian  song  for  violin  and  orch.  (Cambridge),  N.  5,  '85  (5). 

Ertel,  Jean  Paul.  "The  Midnight  Review,"  symphonic  poem.  Op.  16, 
A.  16,  '08  (i). 

EssER,  Heinrich.  Suite  No.  2,  A-minor,  0.  14,  '87  (i). 

Faure,  Gabriel.  "Pelleas  and  Melisande,"  suite.  Op.  80,  D.  16,  '04  (5). 

FiBiCH,  Zdenko.   "A  Night  at  Karlstein,"  overture.  Op.  26,  J.  30,  '03  (3). 

Floerscheim,  Otto.  "Consolation,"  symphonic  poem,  Op.  21,  D.  10,  '86 
(i).  —  "Elevation,"  symphonic  poem,  J.  27,  '88  (i).  —  Prelude  and 
fugue,  F.  S,  '92  (i).  —  Scherzo,  Mr.  14,  '90  (i). 


258 


APPENDIX 

FooTE,  Arthur.  Four  character  pieces  after  the  Rubaiyat  of  Omar 
Khayyam,  Op.  48,  A.  19,  '12  (i).  —  "Francesca  da  Rimini,"  symphonic 
prologue,  Op.  24,  J.  23,  '91  (3).  —  "In  the  Mountains,"  overture.  Op.  14, 
F.  4,  '87  (3).  —  Serenade  for  string  orchestra.  Op.  25,  Intermezzo  and 
Gavotte,  A.  6,  '93  (i).  —  Praeludium,  Intermezzo  and  Gavotte  (Salem), 
A.  II,  '93  (i).  —  Suite  for  strings,  No.  2,  Op.  21,  My.  14,  '86  (2)  (Popular). 

—  Suite  in  D-minor,  Op.  36,  Mr.  6,  '96  (2).  —  Suite  in  E-major,  Op.  63, 
A.  16,  '09  (2). 

Forsyth,  Cecil.  "Chant  celtique,"  for  viola  and  orch.,  A.  26,  '12  (i). 

Franck,  Cesar.  "The  accursed  huntsman,"  symphonic  poem,  Mr.  i,  '01 
(11).  —  "The  Aeolidae,"  symphonic  poem,  F.  16,  '00  (9).  —  "The  Re- 
demption," symphonic  piece  from,  D.  27,  '07  (i).  —  "Psyche  and  Eros," 
D.  I,  '05  (5).  —  Symphonic  variations  for  piano  and  orch.  (Philadelphia), 
J.  16,  '01  (3).  —  Symphony  in  D-minor,  A.  14,  '99  (25). 

Fried,  Oskar.  Prelude  and  double  fugue  for  string  orch.,  Op.  10,  Mr.  28, 
'07  (I). 

FucHS,  Robert.  Serenade,  No.  i.  Op.  9,  Mr.  6,  '85  (2).  —  Serenade,  No.  2, 
Op.  14,  O.  24,  '84  (2).  —  Serenade,  No.  3,  N.  4,  '87  (3).  —  Symphony, 
C-major,  0.  30,  '85  (2). 

Cade,  Niels  W.  "In  the  Highlands,"  overture,  F.  3,  '82  (2).  —  "Michel 
Angelo,"  overture,  O.  2,  '88  (i).  —  "Novelletten"  for  strings.  Op.  53,  Mr. 
23,  '88  (i).  —  "Ossian,"  overture,  O.  20,  '82  (8).  —  Symphony,  B-flat,  No. 
4,  Mr.  22,  '83  (3).  —  Symphony,  C-minor,  J.  14,  '87  (2). 

Gericke,  Wilhelm.  Concert  overture  (W.  Ecker),  0.  30,  '85  (i).  —  Sere- 
nade for  strings,  three  movements,  Mr.  12,  '86  (2). 

Gernsheim,  Friedrich.  Concerto  for  violin  and  orch..  Op.  42,  0.  22,  '97 
(i).  —  Symphony  in  E-flat,  No.  2,  D.  8,  '82  (i).  —  "To  a  Drama,"  tone 
poem.  Op.  82,  J.  27,  '11  (i). 

Gilbert,  Henry  F.  Comedy  overture  on  negro  themes,  A.  13,  '11  (3). 

GiLSON,  Paul.   "La  Mer,"  symphonic  sketches,  Mr.  24,  '93  (2). 

Glazounoff,  Alexander.  "Carnival,"  overture,  A.  8,  '04  (i).  —  Concerto 
for  violin  and  orch..  Op.  82,  O.  27,  '11  (i).  —  "The  Kremlin,"  symphonic 
picture,  Op.  20,  J.  26,  '06  (i).  —  Lyric  poem,  Op.  i,  O.  15,  '97  (i). — 
Overture  solennelle.  Op.  73,  F.  14,  '02  (9).  —  "Raymonda,"  suite  from, 
Op.  573,  J.  24,  '02  (i).  —  "Spring,"  musical  picture.  Op.  34,  A.  8,  '09  (i). 

—  Symphony,  No.  4,  E-flat,  O.  23,  '03  (8).  —  Symphony,  No.  5,  B-flat- 
major,  N.  23,  '06  (25).  —  Symphony,  No.  6,  C-minor,  O.  20,  '99  (5). 

Glinka,  Michael  I.  "Konnarinskaja,"  N.  16,  '83  (5).  —  "Russian  and 
Ludmilla,"  overture,  Mr.  2,  '94  (i). 

259 


APPENDIX 

Gluck,  Christoph  Willibald.  Ballet  suite  (arr.  by  Gevaert),  D.  2,  '81 
(81).  —  "Don  Juan,"  selections  from  ballet  (arr.  by  Kretschmar),  D.  24, 
'96  (i).  —  Gavotte  in  A.  (arr.  by  Brahms),  J.  25,  '84  (i).  —  "Iphegenia  in 
Aulis,"  overture,  J.  4,  '84  (12).  —  "Orpheus,"  Reigen  Seliger  Geister  und 
Furien  Danse,  from,  J.  11,  '89  (2). 

GoDARD,  Benjamin.  Concerto  romantique,  N.  16,  '83  (3).  —  " Jocelyn," 
suite  No.  I,  F.  12,  '96  (5).  —  "Symphonie  orientale,"  F.  13,  '91  (6). — 
"Le  Tasse,"  danse  des  bohemiens,  Mr.  i,  '84  (i).  —  "  Valse,"  for  flute  and 
orch.  (Providence),  J.  27,  '92  (i). 

GoETZ,  Hermann.  "Spring,"  overture,  Mr.  29,  '95  (i).  —  Symphony,  F- 
major,  Mr.  18,  '87  (17). 

Goldmark,  Carl.  Concerto  for  violin  and  orch.,  A-minor,  D.  5,  '90  (11).  — 
"Cricket  on  the  Hearth,"  Prelude  to  Part  HI,  N.  20,  '96  (7).  — "In 
Italy,"  overture,  F.  3,  '05  (7).  —  "  In  the  Spring,"  overture,  A.  18,  '90  (25). 
—  "Merlin,"  chorus  and  dance  of  spirits,  J.  9,  '03  (3).  —  "Penthesilea," 
overture,  F.  19,  '86  (7).  —  "Prometheus  Bound,"  overture,  O.  31,  '90 
(11),  —  "Sakuntala,"  overture,  O.  27, '82  (64).  —  "Sappho,"  overture 
(Cambridge),  N.  18,  '94  (11).  —  Scherzo  in  A-major,  N.  2,  '00  (2). — 
Symphony  ("Rustic  Wedding"),  No.  I,  J.  23,  '85  (27).  —  Symphony, 
No.  2,  A.  6, '88  (s). 

Goldmark,  Rubin.  "Hiawatha,"  overture,  J.  12,  '00  (10).  —  "Samson," 
tone  poem,  Mr.  13,  '14  (2). 

GoLTERMANN,  Georg.  Cantilena  for  violoncello  and  orch.,  F.  25,  '98  (i).  — 
Concerto  for  violoncello  and  orch..  Op.  14,  O.  18,  '89  (i). 

Gordigiani,  Luigi.  Notturnino  (Cambridge),  0.  30,  '02  (2). 

Gounod,  Charles  Francois.  "La  Colombe,"  entr'  acte  (Newport),  O.  11, 
'83  (ix).  —  Funeral  march  of  a  Marionette,  O.  27,  '02  (7).  —  Hymn  to  St. 
Cecilia  for  string  orch.  (Fall  River),  O.  18,  '88  (4).  —  "Philemon  and 
Baucis,"  dance  of  Bacchantes,  F.  29,  '84  (2).  —  "Queen  of  Sheba,"  ballet 
music  (Cambridge),  D.  6,  '83  (6).  —  Vision  of  Jeanne  d'  Arc,  for  violin 
and  orch.,  J.  20,  '92  (i). 

Graedner,  Hermann.  Capriccio,  Op.  4,  Mr.  8,  '89  (l).  —  Concerto  for 
violoncello  and  orch.,  Op.  45,  Mr  12,  '09  (3).  —  "Lustspiel,"  overture, 
F,  17,  '88  (i). 

Grammann,  Karl.  Prelude,  "Melusine,"  Op.  24,  J.  6,  '82  (3). 

Gretry,  Andre  Ernest  Modeste.  "Cephalus  and  Procris,"  three  dances 
from  (arr.  by  Mottl),  N.  13,  '08  (7). 

260 


APPENDIX 

Grieg,  Edward  Hagerup.  Concerto  for  piano  and  orch.,  A-minor,  O.  28, 
'81  (22).  —  "From  Holberg's  Time,"  suite,  A.  12,  '89  (2).  —  "In  Au- 
tumn," overture,  A.  19,  '07  (4).  —  Old  Norwegian  romance  with  varia- 
tions, N.  17,  '11  (i).  —  "Peer  Gynt,"  suite,  No.  i,  Nos.  i,  2,  3,  4,  J. 
24,  '90  (44).  —  "Peer  Gynt,"  suites,  Nos.  i  and  2;  i,  2,  3,  4,  of  No.  i,  and 
I,  3,  4  of  No.  2,  0.  15,  '09  (i).  —  Symphonic  dances.  Op.  64,  J.  26,  '00  (2). 
—  Two  melodies  for  string  orch.,  Op.  34,  F.  2,  '83  (3). 

Grimm,  J.  0.  Symphony  in  D-minor,  F.  22,  '84  (i). 

GuiLMANT,  Felix  Alexandre.  Symphony  No.  i,  D-minor,  A.  9,  '03  (i). 

Hadley,  Henry  Kimball.  "The  Culprit  Fay,"  rhapsody,  N.  18,  '10  (i).  — 
"Salome,"  tone  poem,  A.  12,  '07  (i).  —  Symphony,  No.  2,  "The  Four 
Seasons,"  A.  14,  '05  (i).  —  Symphony,  No.  3,  B-minor,  A.  10,  '08  (i). 

Halm,  August.  Symphony,  D-minor,  A.  22,  '10  (i). 

Hamerik,  Asger.    Concert  romance  for  violoncello  and  orch.,  A.  8,  '97  (i). 

Handel,  Georg  Friedrich.  Concerto  for  oboe  and  strings,  F.  17,  '88  (4).  — 
Concerto  for  organ  and  orch.,  No.  4,  D-minor,  O.  19,  '00  (i).  —  Concerto 
for  strings  and  wind,  F-major,  D.  24,  '91  (17).  —  Concerto  grosso,  No.  5 
in  D,  J.  30,  '91  (i).  —  Concerto  grosso.  No.  6  in  G-minor,  F.  21,  '95  (i).  — 
Concerto  grosso.  No.  7,  F.  29,  '84  (i).  —  Concerto  grosso,  No.  10  in  D- 
minor,  F.  23,  '94  (3).  —  Concerto  grosso,  No.  12  in  B-minor,  F.  27,  '85  (2). 
—  "Largo,"  N.  14,  '84  (55).  —  Overture  No.  i,  D-major,  D.  24,  '96  (7).  — 
"Water  Music,"  D.  11, '85  (4). 

Harcourt,  Eugene.  "Tasso,"  overture,  Mr.  23,  '06  (i).     " 

Hartmann,  Emil.  "A  Northern  Campaign,"  overture.  Op.  25,'F.  16,  '94  (i). 

Hausegger,  Sieguund  von.    "Barbarossa,"  symphonic  poem,  A.  18,  '02  (i). 

Haydn,  Josef.  Concerto  for  violoncello  and  orch.,  in  D,  N.  21,  '90  (7).  — 
Symphony  No.  i  (B  and  H.),  N.  13,  '91  (4).  —  Symphony  No.  2  (B.  and 
H.),  D.  5,  '84  (23).  — Symphony  No.  3,  E-flat,  J.  29,  '86  (i).  —  Symphony 
in  D-major  ("The  Clock")  (B.  and  H.,  No.  4),  A.  5,  '95  (i).  —  Symphony 
No.  5,  D-major,  N.  16,  '00  (2).  —  Symphony  No.  6  (B.  and  H.)  ("  Surprise  "), 
D.  9,  '87  (11).  —  Symphony  No.  7  (B.  and  H.),  O.  20,  '82  (7).  —  Symphony 
No.  8  (B.  and  H.),  D.  15,  '05  (l).  —  Symphony,  C-minor,  No.  9,  A.  12,  '89 
(7). —  Symphony,  No.  10  (B.  and  H.),  D.  19,  '02  (i).  —  Symphony  in  G, 
No.  II  ("Military"),  N.  2,' 83  (4). —  Symphony  in  B-flat,  No.  12  (B.  and 
H.),  O.  21,  '81  (6).  — Symphony  in  G-major,  No.  13  (B.  and  H.),N.  8, '89 
(26).  —  Symphony  in  D-major  ("La  Chasse"),  Mr.  3,  '99  (5). —  Sym- 
phony in  C-major  ("The  Bear"),  D.  6,  '89  (6).  —  Symphony  in  G 
("O.xford"),  N.  19,  '86  (11).  —  Symphony  in  C-major,  (Rieter-Bieder- 
mann  No.  3),  A.  21,  '99  (2).  —  Variations  on  the  Austrian  National 
Hymn,  D.  12,  '84  (6). 

26] 


APPENDIX 

Henschel,  Georg.  Ballad  for  violin  and  orch.  (Salem),  F.  21,  '84  (3).  — 
Concerto  for  piano  and  orch.,  E-flat,  D.  I,  '82  (5).  —  "Hamlet,"  suite. 
Op.  50,  A.  14,  '92  (i).  —  Serenade  in  canon  form  for  strings.  Op.  23,  J.  18, 
'84  (I).  . 

Henselt,  Adolf  Concerto  for  piano  and  orch.,  F-minor,  Op.  16,  F.  3, 

'82  (16). 

Herbeck,  Johann  Franz  von.  "Tanz  Momente,"  F.  20,  '85  (2). 

Herold,  Louis  Joseph  Ferdinand.  "  Zampa,"  overture,  J.  6,  '82  (4). 

Heuberger,  Richard.  "Cain,"  overture,  N.  12,  '86  (i).  —  Variations  on  a 
theme  by  Schubert,  D.  19,  '90  (i). 

Hiller,  Ferdinand  von.  Capriccio,  "The  Sentinal,"  D.  30,  '81  (6). — 
Concerto  for  piano  and  orch.,  Op.  69,  N.  9,  '83  (i). 

HiNTON,  Arthur.  Concerto  for  piano  and  orch.,  D-minor,  Op.  24,  Mr.  6, 
'08  (I). 

Holbrooke,  Josef.  "Queen  Mab,"  poem  for  orch.,  Op.  45,  J.  3,  '13  (2). 

Hopekirk,  Helen.  Concert  piece  in  D-minor  for  piano  and  orch.,  A.  IJ, 
'04  (i).  —  Concerto  for  piano  and  orch.  in  D-major,  D.  27,  '00  (i). 

HuBER,  Hans.  Symphony  No.  2  in  E-minor,  O.  24,  '02  (4). 

Hummel,  Johann  Nepomuk.  Concerto  for  piano  and  orch.  in  B-minor, 
Op.  29,  D.  21,  '83  (i). 

Humperdinck,  Engelbert.  "The  Forced  Marriage,"  overture,  D.  20, 
'07  (5).  —  "Hansel  and  Gretel,"  Prelude,  D.  22,  '97  (9).  —  "Hansel  and 
Gretel,"  Dream  music  and  pantomine,  N.  i,  '95  (i).  —  Humoresque, 
N.  II,  '92  (2).  —  "The  King's  Children,"  selections  from,  D.  24,  '96  (4).  — 
A  Moorish  rhapsody,  O.  27,  '99  (5). 

Huss,  Henry  Holden.  Concerto  for  piano  and  orch.,  B-major,  Op.  10, 
D.  28,  '94  (s).  —  Rhapsody  for  piano  and  orch.,  O.  29,  '86  (i). 

Indy,  Vincent  d'.  "The  Enchanted  Forest,"  symphonic  legend,  Op.  8, 
O.  30,  '03  (5).  —  "Medea,"  suite,  Op.  47,  F.  9,  '00  (i).  —  "Istar,"  sym- 
phonic variations,  F.  17,  '99  (8).  —  "Saugefleurie,"Legende  (Baltimore), 
D.  6,  '05  (3).  —  "The  Stranger,"  entr'acte  from,  Mr.  4,  '04  (i).  —  "  Sum- 
mer Day  on  the  Mountain,"  Op.  61,  A.  24,  '08  (2).  —  Symphony,  B-fliat- 
major.  No.  2,  J.  6,  '05  (i).  —  Symphony  on  a  Mountain  Air,  Op.  25, 
A.  4,  '02  (6).  —  "VVallenstein,"  trilogy,  O.  18,  '07  (8). 

Jaques-Dalcroze,  Emile.  Concerto  for  violin  and  orch.,  C-minor,  Op.  50, 
Mr.  9,  '06  (s). 

262 


APPENDIX 

Joachim,  Josef.  Concerto  for  violin  and  orch.,  Op.  ii,  N.  25,  '81  (5). 

Johns,  Clayton.  Berceuse  and  scherzo  for  strings,  Mr.  22,  '94  (i). 

JuoN,  Paul.   "Vaegtevise,"  fantasy  on  Danish  folk-songs,  Op.  31,  D.  26, 

'13  U). 

Kahn,  Robert.  Overture,  "Elegy,"  Mr.  8,  '95  (2). 

Kaun,  Hugo.  "Minnehaha,"  symphonic  poem,  No.  i,  J.  29,  '04  (l). 

Klengel,  Julius.  Capriccio  for  violoncello  and  orch..  Op.  8  (Buffalo), 
My-  3>  '92  (i?)-  —  Scherzo  for  violoncello  and  orch.  (Cambridge),  J.  21, 
'92  (I). 

Klughardt,  August.   Concerto  for  violoncello  and  orch..  Op,  59,  D.  20, 

'12  (2).  —  Symphony  No.  3  in  D-major,  Mr.  6,  '91  (i). 

Knorr,  Iwan.   Variations  on  an  Ukraine  folk-song.  Op.  7,  Mr.  29,  '95  (i), 
KoESSLER,  Hans.  Symphonic  variations,  Mr.  14,  '02  (3). 
Korbay,  Francis.  "Nuptiale"  for  orch.,  Ap.  6,  '88  (i). 
Krug,  Arnold.   "Othello,"  symphonic  prologue,  J.  14,  '87  (6). 

Lachner,  Franz.   Suite  in  D-minor,  Op.  113,  march  from,  0.  28,  '81  (2). 

—  Suite  entire,  N.  30,  '88  (6). 

Lalo,  Edouard.  Concerto  for  violin  and  orch..  Op.  20,  D.  23,  '10  (i).  — 
Concerto  for  violoncello  and  orch.,  D-minor  (Philadelphia),  A.  27, '91  (10). 

—  Fantasie  norwegienne  for  violin  and  orch.,  D.  19,  '84  (3).  —  "Na- 
mouna,"  suite,  J.  3,  '96  (4).  —  Rhapsody  for  orch.  ("Norwegian"), 
D.  21,  '88  (5).  —  "Le  roi  d'ys,"  overture,  N.  20,  '91  (9).  —  "Symphonic 
espagnole,"  for  violin  and  orch.,  Op.  21,  N.  11,  '87  (29). 

Lang,  Margaret  Ruthven.  Dramatic  overture,  A.  7,  '93  (i). 

Lancer,  Ferdinand.  Concerto  for  flute  and  orch.,  N.  16,  '87  (i).  —  "Dom- 
roschen,"  Introduction,  A.  11,  '95  (i). 

Lavignac,  Albert.  Serenade  for  flute  and  orch.  (Providence),  J.  27,  '92  (i). 

Lendvai,  Erv?in.  Symphony  in  D-major,  Op.  10,  F.  14,  '13  (2). 

LiADOFF,  Anatol.  "Baba-Yaga,"  Op.  56,  J.  6,  '11  (i). 

Lindner,  August.  Concerto  for  violoncello  and  orch.,  Op.  34,  D.  a8,  '88  (2). 

263 


APPENDIX 

Lindner,  E.  "Serenade,"  for  violoncello  and  orch.  (Cleveland),  My.  8, 
'93  (2)- 

Liszt,  Franz.  "Battle  of  the  Huns,"  symphonic  poem,  Mr.  29,  'or  (4).  — 
"Christus,"  march  of  the  Three  Holy  Kings,  D.  19,  '02  (i).  —  "Christus," 
Shepherd's  song  at  the  cradle  and  march  of  Three  Holy  Kings,  D.  28, 
'06  (i).  —  Concerto  for  piano  and  orch.,  E-flat,  No.  i,  O.  16,  '85  (62).  — 
Concerto  for  piano  and  orch.,  A-major,  No.  2,  F.  22,  '84  (30).  —  "Concerto 
pathetique,"  for  piano  and  orch.  (arr.  by  Burmeister),  O.  25,  '01  (2).  — 
"Dance  of  Death,"  for  piano  and  orch.  (Cambridge),  J.  9,  '02  (6). — 
"Faust,"  Episode  from  Lenau's,  N.  18,  '87  (23).  —  Faust  symphony  (with 
chorus),  Mr.  10,  '99  (2).  —  Faust  symphony  (without  chorus),  Mr.  22, 
'94  (2).  —  Faust  symphony,  "Gretchen,"  movement,  N.  20,  '85  (2). — 
"Festklange,"  symphonic  poem,  D.  27,  '89  (8).  —  "Hungaria,"  symphonic 
poem,  J.  23,  '14  (4).  —  Hungarian  fantasy  for  piano  and  orch.,  Mr.  3, 
'82  (4).  —  Hungarian  rhapsody.  No.  i,  D.  24,  '85  (24).  —  Hungarian 
rhapsody.  No.  2,  J.  25,  '84  (23).  —  Hungarian  rhapsody.  No.  2  (arr.  by 
Liszt  and  Doppler),  N.  2,  '83  (13).  —  Hungarian  rhapsody,  No.  3,  O.  28, 
'98  (i).  —  Hungarian  rhapsody,  No.  6  ("The  Carnival  in  Pesth"),  F.  19, 
'97  (?)•  —  "Ideale,"  symphonic  poem,  J.  25,  '89  (5).  —  Polonaise,  No.  2, 
E-flat,  O.  21,  '88  (7).  —  "Les  Preludes,"  symphonic  poem,  D.  9,  '81  (82). 
—  "Mazeppa,"  symphonic  poem  (New  York),  Mr.  29,  '94  (9).  —  "Or- 
pheus," symphonic  poem,  J.  16,  '85  (4).  —  Sermon  of  St.  Francis  of  Assisi 
to  the  birds  (arr.  by  Mottl.),  D.  2,  '04  (6).  —  Spanish  rhapsody  for  piano 
and  orch.  (arr.  by  Busoni),  J.  26,  '94  (8).  —  Symphony  after  Dante's 
"Divina  Commedia,"  F.  26,  '86  (4).  —  "Tarantelle  de  bravura"  (Provi- 
dence), J.  I,  '90  (i).  —  "Tasso,"  symphonic  poem,  F.  9,  '83  (35). 

LiTOLFF,  Henry    Charles.    Concerto  for  piano  and  orch.  ("Symphonie 
national  hollandaise").  No.  3,  Op.  45,  D.  13,  '89  (4).  —  "King  Lear," 
^    overture,  J.  6,  '92  (2)  (Young  People's). 

LocATELLi,  PiETRO.  Sonata  for  violoncello  (Cambridge),  J.  6,  '98  (2). 

LoEFFLER,  Charles  Martin.  "Death  of  Tintagiles,"  symphonic  poem, 
J.  7, '98  (11).  —  "Devil's  villanelle,"  Op.  9,  N.  24, '05  (3).  —  Divertimento 
in  A-minor  for  violin  and  orch.,  J.  4,  '95  (6).  —  Fantastic  concerto  for 
violoncello  and  orch.,  F.  2,  '94  (8).  —  "Pagan  poem,"  Op.  14,  N.  22,  '07 
(4).  —  Les  veillees  de  I'Ukraine,  suite  for  violin  and  orch.,  N.  20,  '91  (7). 

Maas,  Louis.   Concerto  for  piano  and  orch.,  C-minor,  Op.  12,  J.  6,  '82  (2). 

MacDowell,  Edward  Alexander.  Concerto  for  piano  and  orch..  No.  I, 
A-minor,  N.  18,  '92  (3).  —  Concerto  for  piano  and  orch..  No.  2,  D-minor, 
A.  12,  '89  (14).  —  "Lamia,"  symphonic  poem.  Op.  29,  O.  23,  '08  (4).  — 
"Launcelot  and  Elaine,"  symphonic  poem.  Op.  25,  J.  10,  '90  (6). — 
Suite  in  A-minor,  Op.  42,  O.  23,  '91  (9).  —  Suite  No.  2  in  E-minor  ("In- 
dian"), Op.  48,  J.  31,  '95  (16).  —  Two  poems  for  orch.,  "Hamlet"  and 
"Ophelia,"  Op.  22,  J.  27,  '93  (i). 


264 


APPENDIX 

Mackenzie,  Alexander.  "La  belle  dame  sans  merci";  ballade  for  orch., 
F.  l8,  '87  (2).  —  "Pibroch,"  suite  for  violin  and  orch..  Op.  42,  J.  30,  '03  (3). 

Magnard,  Alberic.  "  Chant  funebre  "  (Philadelphia),  D.  4,  '05  (3). 

Mahler,  Gustav.  Symphony  No.  5,  C-sharp-minor,  F.  2,  '06  (9). 

Mandl,  Richard.  Overture  to  a  Gascon  chivalric  drama  (Cambridge), 
Mr.  2,  *ii  (2). 

Maquarre,  Andre.  "On  the  Sea  Cliffs,"  Mr.  26,  '09  (i). 

Marschner,  Heinrich.  "Hans  Heiling,"  overture  (Popular),  My.  14, 
'86  (8), 

Mascagni,  Pietro.  Intermezzo  sinfonico  from  "Cavalleria  Rusticana  " 
(Providence),  N.  18,  '91  (i). 

Massenet,  Jules.  "Le  Cid,"  ballet  music,  J.  6,  '92  (i)  (Young  People's). 

—  "Les  Erinnyes,"  incidental  music,  J.  14,  '98  (7).  —  Entr'acte,  finale 
only,  Mr.  7,  '84  (i).  —  "Esclarmonde,"  suite,  Mr.  2,  '92  (5).  —  Hun- 
garian scene,  N.  27,  '04  (i).  —  "Phedre,"  overture,  F.  17,  '82  (5). — 
"Scenes  Alsaciennes,"  J.  19,  '83  (i).  —  "Scenes  pittoresques,"  F.  5,  '86  (3). 

Mehul,  £tienne.   "Joseph,"  overture,  N.  18,  '81  (i). 

Mendelssohn,  Bartholdy,  Felix.  "Athalie,"  overture,  D.  9,  '81  (13).  — 
"Calm  sea  and  prosperous  voyage,"  J.  i,  '86  (25).  —  "Camacho's  Wed- 
ding," overture,  N.  11,  '81  (4).  —  Capriccio  for  piano  and  orch.,  B-minor, 
N.  3,  '82  (3).  —  Concerto  for  piano  and  orch..  No.  i,  G-minor  (Milwau- 
kee), My.  5,  '87  (7).  —  Concerto  for  violin  and  orch.,  E-minor,  F.  17, '82 
(51).  —  "The  fair  Melusine,"  overture,  F.  27,  '8$  (17).  —  "  Fingal's 
Cave,"  overture  ("The  Hebrides"),  J.  4,  '83  (Worcester)  (29).— "Mid- 
summer Night's  Dream,"  incidental  music  to,  A. 13,  '94(1);  —  overture,  F. 
9,  '83  (18);  overture,  scherzo,  notturno,  and  wedding  march,  D.  5,  '84(16); 

—  wedding  march,  Mr.  10,  '82  (3);  —  notturno,  O.  26,  '83  (2);  —  scherzo, 
D.  2,  '87  (9);  —  scherzo,  and  notturno  (Cambridge),  J.  19, '93  (2);  overture, 
scherzo,  and  wedding  march,  A.  26,  '01  (i).  —  Overture  in  C,  Op.  loi,  F. 
I,  '84  (i).  —  "Ruy  Bias,"  overture,  O.  20,  '82  (19).  —  "  St.  Paul,"  over- 
ture, Mr.  30,  '83  (i).  —  "Son  and  Stranger,"  overture,  J.  23,  '85  (i).  -^ 
Symphony  in  A-minor,  No.  3  ("Scotch"),  J.  19,  '83  (37).  —  Symphony 
in  A-major,  No.  4  ("Italian"),  O.  24,  '84  (28).  —  Symphony  in  D-major, 
No.  5  ("Reformation"),  J.  20,  '82  (4). 

Meyerbeer,  Giacomo.  "Star  of  the  North,"  overture,  N.  27,  '04  (i).  — 
"Struensee,"  overture,  F.  28,  '90  (i).  —  "Struensee,"  polonaise,  N.  24, 
'82  (2). 

MoLiQUE,  Bernhard.  Conccrto  for  violin  and  orch.,  in  A-minor,  No.  5, 
F.  I,  '89  (i).  -  A.  26,  '94  (2). 


265 


APPENDIX 

MoNSiGNY,  Pierre  Alexandre.  Chaconne  et  rigaudon  (Aline),  (arr.  by 
Gevaert),  O.  13,  '82  (9). 

Moor,  Emmanuel.  Concerto,  piano  and  orch.,  Op.  57,  A.  16,  '08  (i). 

Moscheles,  Ignaz.  "Maid  of  Orleans,"  overture,  Mr.  3,  '82  (7). 

MoszKOWSKi,  MoRiTZ.  Concerto,  for  violin  and  piano  in  C,  Op.  30,  J.  4,  '89 
(10).  —  "The  Nations,"  suite,  Op.  23,  Mr.  20,  '89,  (Young  People's). — 
Suite  No.  I,  Op.  39  A.  13,  '88  (15). 

Mozart,  Wolfgang  Amadeus.  Adagio  and  fugue  for  strings  (K.  546), 
N.  2$,  '10  (i).  —  Andante  with  variations  in  D-minor  from  Divertimento 
No.  17  (K.  334),  O.  18,  '95  (i).  —  Concerto  for  flute  and  harp  in  C,  J.  11, 
'84  (4).  —  Concerto  for  horn  and  orch.,  J.  30,  '89  (2)  (Young  People's.)  — 
Concerto  for  piano  and  orch.  B-flat,  No.  4  (Cambridge),  D.  2,  '86  (i).  — 
Concerto  for  piano  and  orch.  (K.  26),  D-major  (Cambridge),  N.  17,  '98  (i). 

—  Concerto  for  piano  and  orch.,  D-minor,  F.  19,  '86  (3).  —  Concerto  for 
piano  and  orch.  (K.  503),  Mr.  22,  '83  (i).  —  Concerto  for  two  pianofortes 
and  orch.,  E-flat  (K.  365),  O.  19,  '83  (2).  —  Concerto  for  violin  and  orch., 
A-major  (K.  219),  (Providence),  D.  31,  '07  (4).  —  Concerto  for  violin  and 
orch.,  D-major  (K.  218),  A.  19,  '12  (3).  —  Concerto,  symphonic,  for 
violin  and  viola,  first  movement,  J.  i,  '92  (i).  —  "Don  Giovanni,"  over- 
ture, D.  18,  '85  (8).  —  Fantasia  in  C-minor  for  piano  and  orch.,  J.  27,  '82 
(i).  —  "Magic  flute,"  overture,  D.  2,  '81  (26).  —  "Marriage  of  Figaro," 
overture,  J.  28,  '87  (13).  —  Masonic  funeral  music,  J.  27,  '82  (6).  —  Not- 
turno  and  serenade  in  D  for  four  small  orchestras,  J.  27,  '82  (2).  —  Quintet, 
G-minor  for  strings,  Adagio  only,  D.  31,  '87  (i).  —  "II  seraglio,"  overture, 
D.  22,  '82  (2).  —  Serenade  ("Haffner"),  ist,  2d,  3d,  and  8th  movements, 
N.  13,  '85  (6).  —  Serenade  ("Haflfner"),  ist,  2d,  3d,  4th,  6th,  and  8th 
movements,  J.  2,  '14  (i).  —  Serenade  for  wind  instruments,  No.  Ii,  E- 
flat-major,  A.  5,  '95  (i).  —  Symphony,  C-major  (B.  and  H.  No.  6)  (Provi- 
dence), N.  16,  '82  (2).  —  Symphony  C-major  (K.  338),  Mr.  31,  '99  (2).  — 
Symphony  C-major  (K.  425),  Mr.  16,  '00  (2).  —  Symphony,  C-major, 
(K.  551)  ("Jupiter"),  F.  6,  '85  (24).  —  Symphony,  D-major  (K.  385), 
J-  9,  '85  (3)-  —  Symphony,  D-major  (K.  504),  J.  27,  '82  (6).  —  Symphony, 
D-major,  Op.  22,  Mr.  18,  '87  (6).  —  Symphony,  D-major  ("Parisian"), 
Op.  88,  O.  28,  '87  (5).  —  Symphony,  E-flat  (K.  543),  J.  25,  '84  (23).  — 
Symphony,  G-minor  (K.  183),  O.  27,  '99  (2).  —  Symphony,  G-minor 
(K.  550),  N.  4,  '81  (30).  —  Three  German  dances  (K.  605),  J.  17,  '08  (4). 

—  "Titus,"  overture,  D.  21,  '83  (i).  —  Turkish  march  (arr.  by  Herbeck), 
O.  23,  '8S  (7). 

Mraczek,  Joseph  Gustav.  Symphonic  burlesque  after  Wilhelm  Busch's 
"Max  and  Moritz,"  Mr.  14,  '13  (4). 

Mueller-Berghaus,  Carl.  Romance  for  violoncello  and  orch.,  N.  30, 
'83  (I). 

266 


APPENDIX 

NicoDE,  Jean  Louis.  "The  Sea,"  symphonic  poem,  Mr.  2,  '92  (i). — 
Symphonic  variations,  Op.  27,  F.  7,  '90  (i). 

Njcolai,  Otto,  "The  Merry  Wives  of  Windsor,"  overture,  N.  4,  '81  (18). 
—  Overture  on  the  choral,  "A  Safe  Stronghold  our  God  is  still"  (no 
chorus),  J.  I,  '09  (i). 

NoREN,  Heinrich  Gottlieb.  "  Kaleidoskop,"  theme  and  variations  for 
orch.,  D.  II,  '08  (2). 

NosKowsKi,  SiEGMUND,  "The  Steppe,"  symphonic  poem.  Op.  66,  Mr.  15, 
'07  (3). 

Paderewski,  Ignace  Jan.  Concerto  for  piano  and  orch.,  A-minor,  Op.  17, 
Mr.  13,  '91  (14).  —  Symphony  in  B-Minor,  Op.  24,  F.  12,  '09  (7). 

Paganini,  Nicolo.  Caprice  for  violin  and  orch.,  A-minor,  Op.  i,  J.  14, 
'98  (2).  —  Concerto  for  violin  and  orch.  in  D-major,  No.  i  (Newport), 
O.  II,  '83  (15).  —  Concerto  (in  one  movement)  for  violin  and  orch.,  D- 
major,  A.  22,  '92  (12).  —  "Moto  perpetuo,"  for  string  orch.,  A.  25,  '90  (4). 

Paine,  John  K.  "Azara,"  ballet  music,  Mr.  9,  '00  (11).  —  "Birds  of 
Aristophanes,"  prelude,  N.  17,  '05  (2).  —  Columbus  march  and  hymn, 
F.  3,  '93  (i).  —  "An  Island  Fantasy,"  symphonic  poem,  Op.  45,  A.  19, 
'89  (3).  —  "CEdipus  Tyrannus,"  prelude,  Mr.  10,  '82  (6).  —  Symphony, 
A-major,  No.  2  ("  In  the  Spring"),  F.  29,  '84  (2).  —  "The  Tempest," 
symphonic  poem,  Mr.  9,  '83  (3). 

Parker,  Horatio  W.  "Cahal  Mor  of  the  wine-red  hand,"  rhapsody  for 
baritone  and  orch.,  Mr.  29,  '95  (i).  —  Concerto  in  E-flat  for  organ  and 
orch.,  D.  26,  '02  (2).  —  "Northern  ballad,"  Op.  46,  D.  29,  '99  (i). 

Pfitzner,  Hans.  "The  little  Christ  Elf,"  overture,  N.  15,  '07  (3). 

Phelps,  E.  C.  Concert  overture  (Brooklyn),  Mr.  27,  '97  (i). 

Popper,  David.  "Papillons,"  for  violoncello  and  orch.,  J.  i,  '84  (7). — 
"Spinnlied,"  for  violoncello  and  orch.  (Providence),  N.  18,  '91  (3). 

Rachmaninoff,  Sergei.  Concerto  for  piano  and  orch.,  No.  i,  F-sharp- 
minor,  D.  16,  '04  (2).  —  Concerto  for  piano  and  orch..  No.  2,  C-minor 
(New  York),  D.  3,  '08  (8).  — "The  Island  of  the  Dead,"  symphonic 
poem,  D.  17,  '09  (8).  —  Symphony  in  E-minor,  No.  2,  O.  14,  '10  (16). 

Raff,  Joseph  Joachim.  Concerto  for  piano  and  orch.,  in  C-minor,  Op.  185, 
F.  8,  '84  (3);— allegro  only  (Worcester),  J.  4,  '83  (i).— "La  fee  d'amour," 
concert  piece  for  violin  and  orch.,  Mr.  24,  '93  (i).  —  "Ein'  feste  Burg," 
overture,  N.  13,  '03  (i).  —  Suite  Op.  loi,  Adagietto,  N.  2,  '83  (i). — 
Symphony,  No.  I  ("To  the  Fatherland  "),  J.  31,  '90  (i).  —  Symphony, 
No.  3  ("In  the  woods"),  O.  16,  '85  (26).  — No.  5  ("Lenore"),  J.  12, 
'83  (6).  —No.  II  ("The  Winter"),  J.  18,  '84  (i). 


267 


APPENDIX 

Rameau,  Jean-Philippe.  Ballet  suite,  A.  6,  'oo  (2). 

Ravel,  Joseph  Maurice.  "Ma  mere  I'oye,"  D.  26,  '13  (5). 

Reger,  Max.  Comedy  overture,  O.  6,  '11  (2).  —  Concerto  in  the  ancient 
style  for  orch.,  D.  13,  '12  (6).  —  Serenade  for  orch.,  Op.  95,  A.  12,  '07  (i). 
—  Symphonic  prologue  to  a  tragedy,  O.  15,  '09  (2).  —  Variations  and 
fugue  on  a  merry  theme  of  J.  A.  Hiller  (1770),  Op.  100,  F.  14,  '08  (5). 

Reinecke,  Carl.  Concerto  for  violoncello  and  orch.,  D-minor,  Op.  82 
(2  movements),  Mr.  6,  '91  (i).  —  "Dame  Kobold,"  overture,  J.  12,  '83 
(i).  —  "Der  Gouverneur  von  Tours,"  entr'acte,  Mr.  22,  '95  (i).  —  "King 
Manfred,"  entr'acte,  N.  3,  '82  (15).  —  "King  Manfred,"  overture,  O.  21, 
'92  (4). 

Reinhold,  Hugo.  Concert  overture  in  A-major,  D.  3,  '86  (3).  —  Inter- 
mezzo,My.  14, '86  (i)  (Popular).  —  Prelude, menuet,  and  fugue  for  strings, 
J.  22,  '86  (7). 

Reznicek,  Emil.  "Donna  Diana,"  overture,  D.  6,  '95  (2).  —  "Schlemihl," 
symphonic  biography,  A.  24,  '14  (i).  —  Symphonic  suite  in  E-minor,  N. 
22,  '07  (3). 

Rheinberger,  Joseph.  Concerto  for  organ,  three  horns,  and  strings.  Op. 
137,  D.  27,  '07  (i).  —  "Wallenstein,"  symphony,  D.  4,  '85  (l). 

Riemenschneider,  Georg.  "Todtentanz,"  Mr.  3,  '93  (i). 

RiETZ,  Julius.  Concert  overture,  Op.  7,  N.  2,  '83  (3). 

RiMSKi-KoRSAKOFF,  NicoLAi.  "The  Betrothed  of  the  Tzar,"  overture, 
N.  14,  '02  (12).  —  Caprice  on  Spanish  themes,  F.  14,  '08  (18).  —  Concerto 
for  piano  and  orch.,  Op.  30  (Cambridge),  J.  15,  '14  (i).  —  "The  Russian 
Easter,"  overture,  Op.  36,  0.  22,  '97  (i).  —  "Sadko,"  a  musical  picture, 
Op.  5,  Mr.  24,  '05  (i).  —  "Scheherazade,"  symphonic  suite,  A.  16,  '97 
(34).  —  Symphony,  No.  2  ("Antar"),  Mr.  11,  '98  (2). 

RiTTER,  Alexander.  Olaf's  wedding  dance,  Mr.  i,  '07  (i). 

Roentgen,  Julius.  Ballad  on  a  Norwegian  folk  melody.  Op.  36,  N.  16, 
'00  (I). 

Ropartz,  J.  Guy.  Fantasia  in  D-major,  A.  28,  '05  (i). 

Rossini,  Gioachino  Antonio.  "Barber  of  Seville,"  overture,  N.  13,  '89 
(i)  (Young  People's).  —  "William  Tell,"  overture  (Newport),  O.  11,  '83 
(19). 

Rubinstein,  Anton.  "Anthony  and  Cleopatra,"  overture,  A.  3,  '91  (i).  — 

268 


APPENDIX 

"Bal  costume,"  Mr.  5,  '90  (8)  (Young  People's).  — Concerto  for  piano  and 
orch.,  G-major,  No.  3,  Op.  45,  J.  5,  '83  (8).  —  Concerto  for  piano  and  orch., 
D-minor,  No.  4,  Op.  70,  F.  9,  '83  (35).  —  Concerto  for  piano  and  orch., 
E-flat-major,  Op.  94,  No.  5,  D.  18,  '08  (2).  —  Concerto  for  violin  and  orch.. 
Op.  46,  Mr.  3,  '88  (i).  —  Concerto,  D-minor,  for  violoncello  and  orch., 
No.  2,  Op.  96,  O.  24,  '02  (s).  —  "Demetrius  of  the  Don,"  overture,  J.  31, 
'96  (i).  —  "The  Demon,"  ballet  music,  O.  16,  '85  (7).  —  "Don  Quixote," 
musical  character  picture.  Op.  87,  F.  16,  '94  (i).  —  Fantasie  for  two 
pianos,  F-minor,  Op.  73,  J.  22,  '86  (i).  —  "Feramors,"  ballet  music,  D.  8, 
'82  (23).  —  Symphony,  No.  2  ("Ocean"),  O.  12,  '83  (7).  —  Symphony, 
No.  4,  in  D-minor  ("Dramatic"),  D.  8,  '93  (4).  —  Symphony  in  G-minor 
("Russian"),  O.  6,  '82  (2).  —  Symphony  in  A-major,  No.  6,  N.  11,  '87 
(2).  —  "The  Vine,"  ballet  music,  D.  19,  '84  (7). 

Saint  Saens,  Charles  Camille.  "The  Barbarians,"  overture,  J.  8,  '04 
(5).  —  "Bolero  "  (Cambridge),  0.  30,  '02  (2).  —  Concerto  for  piano  and 
orch.,  G-minor,  No.  2,  D.  8,  '82  (29).  —  Concerto  for  piano  and  orch., 
C-minor,  No.  4,  F.  24,  '82  (13).  —  Concerto  for  piano  and  orch.,  F-major, 
No.  5,  Mr.  4,  '04  (2).  —  Caprice  waltz  for  violin  and  orch.  (arr.  by  Ysaye) 
(Philadelphia),  D.  7,  '04  (i).  —  Concerto  for  violin  and  orch.,  No.  I, 
A-major,  Mr.  6,  '85  (5).  —  Concerto  for  violin  and  orch..  No.  3,  B-minor, 
J.  3,  '90  (23).  —  Concerto  for  violoncello  and  orch.,  A-minor,  Op.  33,  D.  9, 
'81  (22).  —  Concert  piece  for  violin  and  orch.,  Op.  62,  F.  16,  '94  (i).  — 
"Danse  Macabre,"  symphonic  poem,  N.  3,  '82  (41).  —  "The  Deluge," 
prelude  (Brooklyn),  J.  11,  '95  (l).  —  "Henry  VIII,"  ballet  music,  D.  21, 
'83  (8).  —  Introduction  and  rondo  capriccioso  for  violin  and  orch..  Op.  28, 
D.  14,  '83  (5).  —  "La  Jeunesses  d'  Hercule,"  symphonic  poem,  O.  19,  '83 
(7).  —  "  Phaeton,"  symphonic  poem,  O.  14,  '87  (7).  —  "Le  rouet  d'  Om- 
phale,"  symphonic  poem,  N.  23,  '88  (44).  —  Rhapsodic  d'Auvergne  for 
piano  and  orch.,  J.  I,  '86  (i).  —  Romance  for  violin  in  C,  Op.  48,  N.  11, 
'81  (i).  —  "Samson  and  Dalila,"  Dance  of  priestesses  and  bacchanale, 
Mr.  2,  '83  (i).  —  Suite  in  D-major,  Op.  49,  O.  16,  '96  (i).  —  Symphony 
No.  I,  E-flat-major,  N.  25,  '04  (i).  —  Symphony,  No.  2,  A-minor,  N.  II, 
'92  (i).  —  Symphony,  No.  3,  C-minor,  F.  15,  '01  (5). 

Sauer,  Emil.  Concerto  for  piano  and  orch.,  No.  i,  E-minor,  O.  16,  '08  (i). 

Scharwenka,  Philipp.  "  Fruehlingswagen,"  symphonic  poem,  O.  28,  '92 
(I). 

Scharwenka,  Xavier.  Concerto  for  piano  and  orch..  No.  i,  B-flat-minor, 
F.  6,  '91  (6).  —  Concerto  for  piano  and  orch..  No.  4,  F-minor,  F.  10,  'ii 
(I). 

ScHEiNPFLUG,  Paul,  Overture  to  a  comedy  of  Shakespeare,  J.  22,  '09  (4). 
ScHELLiNG,  Ernest.  Fantastic  suite  for  piano  and  orch.,  J.  24,  '08  (5). 
Schillings,  Max.    "Hexenlied,"  recitation  with  orch.,  F.  28,  '09  (i).  — 


269 


APPENDIX 

"Ingewelde,"  prelude  to  Act  II  (Providence),  O.  21,  '96  (3).  —  "Meer- 
gruss  and  Seemorgen,"  fantasies  for  orch.,  0.  31,  '13  (i).  —  "Moloch," 
harvest  festival  from,  J.  15,  '09  (i).  —  "CEdipus  Rex,"  symphonic  pro- 
logue, F.  28,  '02  (i).  —  "The  Piper's  Holiday,"  prelude,  A.  6,  '06  (i). 

ScHjELDERUP,  Gerhard.  "Opferfeuer,"  Summer  Night  on  the  Fiord, 
and  Sunrise  over  the  Himalayas,  from,  F.  14,  '08  (i). 

ScHMiTT,  Florent.  "La  Tragedie  de  Salome,"  N.  28,  '13  (4). 

Schubert,  Franz.  "Alfonse  and  Estrella,"  overture,  J.  26,  '83  (5).  — 
Fantasie  in  F-minor  (arr.  by  Mottl),  Op.  103,  J.  I,  '86  (5).  —  Funeral 
march  in  E-flat-minor  (arr.  by  Liszt),  O.  30,  '85  (11).  —  March  in  B-minor 
(arr.  by  Liszt),  O.  12,  '83  (4).  —  Overture  in  B-major,  Mr.  29,  '89  (i). — 
Overture  in  E-minor,  N.  23,  '88  (6).  —  Overture  in  Italian  style.  Op.  170, 
D.  28,  '83  (3).  — "Rosamunde,"  ballet  music,  O.  21,  '81  (3).  — "Rosa- 
munde,"  ballet  music  and  entr'actes  music,  Mr.  5,  '86  (12).  —  "Rosa- 
munde," overture,  D.  12,  '84  (6).  —  Symphony  No.  4  ("Tragic"),  Mr.  14, 
'84  (3).  —  Symphony,  No.  5,  B-flat,  F.  9,  '83  (3).  —  Symphony  in  C- 
major,  No.  6,  N.  28,  '84  (2).  —  Symphony  in  B-minor  ("  Unfinished  "),  F. 
10,  '82  (82).  —  Symphony  in  C-major,  No.  9,  J.  13,  '82  (53). 

Schumann,  Georg.  "The  dawn  of  love,"  overture,  Mr.  13,  '03  (3).  —  "  In 
carnival  time,"  suite,  J.  22,  '04  (2).  —  Symphonic  variations  on  the  choral 
"Wernur  denlieben  Gott  lasst  waken,"  O.  25, '01  (2).  —  Variations  and 
fugue  on  a  merry  theme,  D.  14,  '06  (3). 

Schumann,  Robert.  "Bride  of  Messina,"  overture,  D.  i,  '82  (i).  —  Con- 
certo for  piano  and  orch.,  A-minor,  O.  6,  '82  (54).  —  Concerto  for  violon- 
cello and  orch.,  A-minor,  F.  3,  '88  (5).  —  Concertstuck  for  piano  and  orch., 
Op.  92,  Mr.  II,  '87  (5).  —  "Genoveva,"  overture,  Mr.  9,  '83  (49).— 
"Hermann  and  Dorothea,"  Mr.  13,  '85  (i). — "Julius  Caesar,"  overture, 
Mr.  29,  '01  (i).  —  "Manfred,"  overture,  F.  24,  '82  (24);  —  overture, 
scherzo  and  finale.  Op.  52,  N.  25,  '81  (17).  —  Pictures  from  the  Orient 
(arr.  by  Reinecke),  N.  21,  '84  (3).  —  Symphony  in  B-fiat,  No.  I,  Mr.  3 
'82  (75).  —  Symphony  in  C-major,  No.  2,  D.  30,  '81  (56).  —  Symphony 
in  E-fiat,  No.  3  ("Rhenish"),  N.  23,  '83  (29).  —  Symphony  in  D-minor, 
No.  4,  N.  10,  '82  (66). 

ScHUTT,  Eduard.   Concerto  for  piano  and  orch.,  F-minor,  No.  2,  J.  i,  '97 

(s). 

Scriabine,  Alexander.  "Le  poeme  de  1'  extase,"  O.  21,  '10  (i). 

Sgambati,  Giovanni.  Concerto  for  piano  and  orch.,  G-minor,  Op.  15, 0.  31, 
'90  (i).  —  Symphony,  No.  i,  D-major,  N.  9,  '94  (9).  —  "  Te  Deum  Laud- 
amus,"  for  orch.  and  organ,  N.  27,  '04  (2). 

Sibelius,  Jean.  Concerto  for  violin  and  orch.,  in  D-minor,  Op.  47,  A.  19, 

270 


APPENDIX 

'07  (2).  —  "Finlandia,"  symphonic  poem,  N.  20,  '08  (20).  —  "Karelia," 
overture,  N.  17,  '11  (i).  —  "King  Christian,"  suite,  eiegie,  and  musette 
from,  A.  I,  '10  (i).  —  "A  Saga,"  tone  poem,  Mr.  4,  '10  (3).  —  "A  song  of 
Spring,"  N.  20,  '08  (3).  —  "The  Swan  of  Tuonela,"  legend  (Cambridge), 
Mr.  2,  '11  (2).  —  Symphony,  No.  i,  E-minor,  J.  4,  '07  (19).  —  Symphony, 
No.  2,  D-major,  Mr.  11, '04  (4).  —  Symphony,  No.  4,  A-minor,  O.  24,  '13 
(2).  —  Valse  triste,  A.  I,  '10  (2), 

Binding,  Christian.  Concerto  for  piano  and  orch.  (New  Bedford),  A.  8, 
'13  (i).  —  Concerto  for  violin  and  orch.,  A-major,  Op.  45,  N.  17,  '05   (2). 

—  "  Episodes  chevaleresques,"  suite,  Op.  35,  F.  24,  '05  (3).  —  "  Rondo 
infinito,"  N.  19,  '09  (i).  —  Symphony,  D-minor,  No.  i,  J.  6,  '98  (5). 

Singer,  Otto.  Symphonic  fantasie,  Mr.  23,  '88  (i). 

SiNiGAGLiA,  Leone.  "Le  baruffe  Chiozzotte,"  overture,  Mr.  10,  '11  (i). 

Smetana,  Friedrich.  "From  Bohemia's  groves  and  meadows,"  sym- 
phonic poem,  D.  7,  '00  (5).  —  "The  Kiss,"  overture,  A.  7,  '05  (i). — 
"Libussa,"  overture,  O.  20,  '05(1).  —  "The  Moldau,"  symphonic  poem, 
N.  21,  '90  (26).  —  "Richard  III,"  symphonic  poem,  A.  24,  '03  (i). — 
"Sarka,"  symphonic  poem,  J.  25,  '95  (i).  —  "The  sold  bride,"  overture, 
D.  30,  '87  (47).  —  "  Vysehrad,"  symphonic  poem,  A.  24,  '96  (10).  —  "  Wal- 
lenstein's  camp,"  symphonic  poem,  J.  i,  '97  (4). 

Spohr,  Louis.  Concerto  for  violin  and  orch.,  No.  7,  Mr.  20,  '91  (i).  — 
Concerto  for  violin  and  orch.,  No.  8,  N.  11,  '81  (13).  —  Concerto  for 
violin  and  orch..  No.  9,  J.  27,  '88  (9).  —  Concerto  for  violin  and  orch., 
No.  II,  F.  26,  '86  (i).  —  "Faust,"  overture,  J.  15,  '86  (i).  —  "Jessonda," 
overture,  N.  23,  '83  (7).  —  Symphony,  No.  3,  C-minor,  J.  29,  '92  (i).  — 
Symphony,  No.  4,  in  F.  ("Consecration  of  tones"),  D.  2,  '87  (2). 

Spontini,  Gasparo.  "Olympia,"  overture,  J.  25,  '84  (4). 

Stanford,  C.  Villiers.  Symphony,  No.  3  ("Irish"),  F.  21,  '90  (i). 

Strauss,  Johann.  "Beautiful  Blue  Danube,"  waltz  with  male  chorus,  Mr. 
12,  '11  (i).  —  "Moto  perpetuo,"  a  musical  joke,  A.  II, '95.  (i)  —  Polka, 
"Singer's  joy,"  for  orchestra  (Philadelphia),  Mr.  28,  '96  (i).  —  "Wine, 
woman  and  song"  (Philadelphia),  Mr.  28,  '96  (2). 

Strauss,  Richard.  Burleske  in  D-minor  for  piano  and  orch.,  A.  17,  '03  (i). 

—  Concerto  for  violin  and  orch.,  D-minor,  Op.  8  (New  York),  Mr.  21,  '03 
(2).  —  "Death  and  Transfiguration,"  tone  poem,  F.  5,  '97  (36).  —  "Don 
Juan,"  tone  poem,  O.  30,  '91  (42).  —  "Don  Quixote,"  variations  on  a 
theme  of  knightly  character,  F.  12,  '04  (8).  —  "Festliches  Praeludium," 
D.  12,  '13  (i).  —  "Feuersnot,"  love  scene,  Mr.  7,  '02  (12).  —  "Guntrum," 
preludes  to  Acts  I  and  II,  N.  8,  '95  (8).  —  "A  hero's  life,"  tone  poem,  D. 
6,  '01  (11).  — "In  Italy,"  symphonic  fantasy,  D.  21,  '88  (5).  — "Mac- 

271 


APPENDIX 

beth,"tone  poem,Mr."i7, 'ii  (i).  —  "Salome,"  dance  from,  A.  26,  '12  (i). 

—  Symphonia  domestica,  F.  15,  '07  (13).  —  Symphony  in  F-minor,  N.  3, 
'93  (5)-  —  "Thus  Spake  Zarathustra,"  tone  poem,  O.  29,  '97  (12). — 
"Till  Eulenspiegel's  Merry  Pranks,"  rondo,  F.  21,  '96  (41), 

Strube,  Gustav.  Concerto  for  violin  and  orch.,  F-sharp-minor,  D.  22,  '05 
(6).  —  Concerto  for  violin  and  orch.,  G-major,  Op.  13,  D.  10,  '97  (2).  — 
Concerto  for  violoncello  and  orch.,  E-minor,  O.  29,  '09  (i).  —  Fantastic 
dance  for  viola  and  orch.,  Mr.  27,  '08  (2).  —  Fantastic  overture,  Op.  20, 
Mr.  II,  '04  (2).  —  "Longing,"  symphonic  poem  for  viola  and  orch.,  A.  20, 
'05  (2).  —  "Lorelei,"  symphonic  poem,  J.  24,  '13  (i).  —  "Maid  of 
Orleans,"  overture,  Op.  8,  F.  15,  '95  (i).  —  "Narcissus  and  Echo,"  sym- 
phonic poem,  J.  24,  '13  (i).  —  "Puck,"  comedy  overture,  Mr.  18,  '10, 
(12).  —  Rhapsody  for  orchestra.  Op.  17,  A.  19,  '01.  (i)  —  Symphony,  B- 
minor,  A.  2,  '09  (2).  —  Symphony,  C-minor,  A.  2,  '96  (l). 

SuK,  Josef.  "A  Fairy  Tale,"  suite,  Op.  16,  N.  28,  '12  (2).  —  Symphony, 
E-major,  Op.  14, 0.  28,  '04  (4). 

SvENDSEN,  JoHAN  S.  "Camival  in  ^  aris,"  Op.  9,  D.  4,  '91  (7).  —  "Nor- 
wegian rhapsody,"  No.  2,  Op.  19,  N.  15,  '89  (4).  —  Romance  for  violin  and 
orch.  (Washington),  N.  i,  '92  (i).  —  Symphony,  B-fiat,  No.  2,  J.  4,  '84  (4). 

—  "Zorahayda,"  legend  for  orch..  Op.  11,  N.  25,  '92  (2). 

Taneieff,  Sergei.  "Oresteia,"  overture,  Op.  6,  N.  30,  '00  (6). — Symphony, 
No.  I,  in  C,  N.  22,  '01  (i). 

Thieriot,  Ferdinand.  Sinfonietta  in  E-major,  Op.  55,  F.  17,  '93  (i). 

Thomas,  Ambroise.  "Mignon,"  overture  (Young  People's),  A.  2,  '90  (8). 

Tinel,  Edgar.  Three  symphonic  pictures  from  "Polyeucte,"  Op.  21,  F.  8, 
'07  (i). 

TscHAiKOWSKY,  Peter  Ilitch.  Conccrto  for  piano  and  orch.,  No.  i,  B-flat- 
minor,  F.  20,  '85  (38).  —  Concerto  for  piano  and  orch.,  No.  2,  G-major,  F. 
4,  '98  (2).  —  Concerto  for  violin  and  orch.,  No.  2,  D-major,  2d  and  3d 
movements,  D.  I,  '93  (5);  —  entire  (Cambridge),  A.  7,  '04  (22).  —  "Fan- 
taisie  de  concert," for  pianoand  orch., Op.  56  (New  York),  J.  12,  '92  (2). — 
"1812,"  overture,  D.  29,  '93  (20).  —  "Francesca  da  Rimini,"  fantasy  for 
orch..  Op.  32,  N.  I,  '95  (16).  —  "Hamlet,"  symphonic  poem,  Mr.  4,  '92  (6). 

—  Italian  Capriccio,  Op.  45,  O.  22,  '97  (18).  —  "Manfred,"  symphony, 
A.  26,  '01  (8).  — "March  Slave,"  F.  23, '83  (i).  —  "Mozartiana"  suite. 
Op.  61,  N.  18,  '98  (i).  —  "Nutcracker,"  suite,  D.  13,  '08  (18).  —  "Romeo 
and  Juliet,"  overture  fantasia,  F.  7,  '90  (26).  —  Serenade  for  strings.  Op. 
48,  O.  12, '88  (3).  — Suite,  "Characteristic,"  Op.  53,  "Children's  dreams" 
from,  N.  5,  '09  (i).  —  Suite,  No.  i,  D-minor,  Mr.  17,  '99  (4).  —  Suite,  No. 
3,  G-major,  O.  16,  '91  (13).  —  Symphony,  No.  2,  C-minor,  F.  12,  '97  (i). 

—  Symphony,  No.  3,  D-major,  D.  i,  '99  (4).  —  Symphony,  No.  4,  F- 

272 


APPENDIX 

minor,  id  and  3d  movements,  O.  17,  '90  (15); — entire,  N.  27,  '96  (30). — 
Symphony,  No.  s,E-minor,  O.  21,  '92  (41).  —  Symphony,  No.  6,  B-minor, 
("Pathetic  "),  D.  28,  '94  (76).  —  Variations  on  a  rococo  theme  for  violon- 
cello and  orch.,  O.  30,  '08  (9).  —  "The  Voyvode,"  orchestral  ballad,  D.  4, 
'03  (I). 

Urack,  Otto.  Symphony  in  E-major,  No.  i,  Mr.  6,  '14  (i). 

Van  der  Stucken,  Frank.  "Pagina  d'amore,"  J.  6,  '92  (i)  (Young  People's). 

—  "Pax  triumphans,"  symphonic  prologue,  D.  22,  '04  (i).  —  "William 
Ratcliff,"  symphonic  prologue,  F.  i,  '01  (i). 

ViEUXTEMPS,  Henri.  Concerto  for  violin  and  orch.,  No.  1  (Cambridge), 
A.  10,  '02  (i).  —  Concerto  for  violin  and  orch..  No.  4,  D-minor,  Mr.  13, 
*8s  (7).  —  Concerto  for  violin  and  orch.,  A-minor,  No.  5,  O.  17,  '84  (13).  — 
Fantasy  on  Slavonic  melodies  for  violin  and  orch.,  N.  17,  '82  (8). 

ViOTTi,  Giovanni  Battista.  Concerto  for  violin  and  orch.,  A-minor,  N.  29, 
'95  (5). 

Vivaldi,  Antonio.  Concerto  for  violin  with  organ  and  string  orch.,  Mr.  7, 
'13  (i). 

VoGRicH,  Max.  Concerto  for  piano  and  orch.,  E-minor,  F.  8,  '89  (4). 

Volkmann,  Robert.  Concerto  for  violoncello  and  orch.,  A-minor,  Op.  33, 
F.  I,  '84  (12).  —  Festival  overture,  Op.  50,  J.  3,  '90(2).  —  "  King  Richard," 
overture,  Mr.  13,  '85  (12).  —  Serenade  for  strings,  No.  i,  Valse  lente  from 
(Providence),  J.  25,  '93  (l).  —  Serenade  for  strings,  No.  2,  N.  24,  '82  (9). 

—  Serenade  for  strings,  D-minor,  No.  3,  F.  6,  '85  (15).  —  Symphony,  D- 
minor,  No.  i,  O.  17,  '84  (11).  —  Symphony,  B-flat,  No.  2,  D.  21,  '83  (4). 

Wallace,  William.  "Villon,"  symphonic  poem,  A.  19,  '12  (i). 

Wagner,  Richard.  Centennial  march,  F.  21,  '95  (2).  —  A  Faust  overture, 
J'  I9>  '83  (48).  —  "Flying  Dutchman,"  overture  (New  Bedford),  Mr.  12, 
'12  (11).  —  "Gotterdammerung,"  funeral  music,  F.  16,  '83  (28).  —  "Got- 
terdammerung,"  Siegfried's  Rhine  journey  (Chicago),  My.  16,  '93  (2).  — 
"Gotterdammerung,"  song  of  the  Rhine  daughters,  N.  23,  '83  (i).  — 
Selections  from  "Siegfried,"a  nd  "Gotterdammerung"  (arr.  by  Richter), 
J.  6,  '88  (33).  —  Huldigungsmarsch,  N.  10,  '82  (16).  —  Kaisermarsch,  D. 
30,  '81  (24).  —  "Lohengrin,"  prelude,  Mr.  14,  '84  (53).  —  "Lohengrin," 
preludes  to  Acts  I  and  III  (Washington),  Mr.  24,  '96  (13).  —  "Lohengrin" 
prelude  to  Act  III  (Cambridge),  J.  3,  '95  (19).  —  "Lohengrin,"  the 
legend,  Act  III,  O.  13,  '82  (14).  —  "The  Mastersingers  of  Nuremberg," 
overture,  N.  1 1,  '81  (159).  —  The  "  Mastersingers  of  Nuremberg,"  introduc- 
tion to  Act  III,  D.  4,  '85  (7).  —  "Mastersingers  of  Nuremberg,"  introduc- 
tion to  Act  III,  dance  of  apprentices  and  procession  of  Mastersineers,  F.  10, 
'82   (16). —  "Parsifal,"   prelude,   N.    10,   '82   (32).  —  "Parsifal,"   Good 


APPENDIX 

Friday  Spell,  F.  15,  '84  (12).  —  "Rheingold,"  prelude  and  first  scene,  A. 
21,  '93  (i).  —  "Rheingold,"  entrance  of  Gods  into  Valhalla  and  lament  of 
Rhine  daughters  (Cambridge),  J.  3,  '95  (6).  —  "Rienzi,"  overture,  O.  13, 
'82  (59).  —  "Siegfried,"  VValdweben,  A.  9,  'll  (2).  —  "Siegfried  Idyl,"  F. 
16,  '83  (81).  —  Symphony  in  C,  F.  24,  '88  (3).  —  "Tannhauser,"  overture, 
D.  15,  '82  (147).  —  "Tannhauser,"  overture  and  bacchanale  (Paris  ver- 
sion), D.  31,  '90  (6).  —  "Tannhauser,"  march,  J.  18,  '84  (2).  —  "Tann- 
hauser," prelude  to  Act  III  (Cambridge),  J.  3,  '95  (8).  —  "Tristan  and 
Isolde,"  prelude,  F.  16,  '83  (13).  —  "Die  Walkure,"  ride  of  the  Valkyries, 
(Popular),  My.  28,  '86  (27).  —  "Die  Walkure,"  Wotan's  farewell  and  fire 
charm  (Philadelphia),  Mr.  22,  '97  (6). 

Webber,  Amherst.  Symphony  C-minor,  D.  29,  '05  (i). 

Weber,  Carl  Maria  von.  "Abu  Hassan,"  overture,  Mr.  20,  '96  (4). — 
Concertina  for  clarinet,  Op.  26,  J.  4,  '84  (2). —  Concertstiick  for  piano  and 
orch.,  Op.  79,  D.  18,  '8s  (11).  —  "Euryanthe,"  overture,  D.  8,  '82  (84).  — 
"Der  Freischiitz,"  overture,  O.  27,  '82  (93).  —  Invitation  to  the  dance, 
(arr.  by  Berlioz)  (Cambridge),  Mr.  22,  '83  (40).  —  " Jubel,"  overture, 
O.  21,  '81  (16).  —  "Oberon,"  overture,  J.  13,  '82  (113).  —  Polacca  bril- 
liante  for  piano  and  orch.  (arr.  by  Liszt),  J.  5,  '83  (3).  —  "Preciosa," 
overture,  D.  24,  '85  (r).  —  "Ruler  of  spirits,"  overture,  Mr.  i,  '01  (i). 

Weingartner,  Felix.  "The  Elysian  Fields,"  symphonic  poem,  Mr.  6, 
'03  (i).  —  "Lustige  Ouverture,"  D.  12,  '13  (i).  —  Symphony,  G-major, 
Op.  23,  A.  12,  '01  (i).  —  Symphony,  No.  3,  E-major,  Mr.  8,  '12  (i). 

Weld,  Arthur.  "Italia,"  dramatic  suite,  F.  28,  '90  (i). 

Whiting,  Arthur.  Concert  overture,  F.  5,  '86  (i).  —  Concerto  for  piano 
and  orch.,  D-minor,  Op.  6,  N.  16,  '88  (i).  —  Fantasie  for  piano  and  orch., 
Op.  II  (Cambridge),  Mr.  12  '96  (3).  —  Suite  for  strings  and  four  horns, 
Op.  8,  Mr.  13,  '91  (i). 

WiDOR,  Charles  Marie.  Choral  and  variations  for  harp  and  orch..  Op.  74, 
F.  27,  '03  (2). 

WiENLAWSKi,  Henri.  Concerto  for  violin  and  piano,  No.  2,  D-minor,  Op.  22, 
J.  4,  '87  (6).  —  Fantasy  for  violin  and  orch.,  on  Gounod's  "Faust,"  Mr. 
16,  '86  (4). 

WiTKOwsKi,  G.  Symphony,  D-minor,  A.  3,  '03  (i). 

Wolf,  Hugo.    Italian  Serenade,  Mr.  31,  '05    (3).  —  "Penthesilea,"  sym- 
.    phonic  poem,  N.  18,  '04  (2). 

Zollner,  Heinrich.  "Midnight  at  Sedan,"  suite,  F.  21,  '96  (2). 


INDEX 


INDEX 


Adamowski,  Josef,  122;  leaves  orches- 
tra, 213. 

Adamowski,  Timothee,  122-  leaves 
orchestra,  213. 

Aldrich,  Richard,  225. 

Apthorp,  William  F.,  on  a  concert  of 
the  Germania  Orchestra,  7;  quoted, 
8;  on  Henschel's  conducting,  36; 
on  Brahms,  84;  quoted,  11$;  editor 
of  programme  book,  139. 

Arbos,  E.  Fernandez,  205. 

Bailey,  Lillian.  See  Mrs.  G.  Henschel. 

Beerbohm,  Max,  quoted,  i. 

Beethoven,  Ludwig  van,  commis- 
sioned to  write  oratorio  for  Handel 
and  Haydn  Society,  3;  symphonies 
first  performed  in  Boston,  5;  Hen- 
schel's plan  to  play  all  the  sympho- 
nies, 41 ;  "  Dedication  of  the  House  " 
conducted  by  Henschel,  57,  206; 
"Missa  Solennis"  at  opening  of 
Symphony  Hall,  195. 

Bischoff,  symphony,  212. 

Boston  Academy  of  Music,  5. 

"Boston  Daily  Advertiser,"  quoted, 
69-71,72-73,  "8. 

"Boston  Evening  Transcript," 
quoted,  54,  68,  98-99,  116,  117, 
166-67,  172-73,  182-85,  196,  212. 

"Boston  Herald,"  quoted,  59-61. 

"Boston  Journal,"  quoted,  178,  180. 

"Boston  Musical  Gazette,"  3. 

"Boston  Traveller,"  quoted,  $8,  130, 

13^37- 

Bourgogne,  La,  sinking  of,  188. 

Brahms,  Johannes,  his  music  disliked, 
84,  109;  his  letter  to  Henschel, 
quoted,  93;  variations  on  theme  by 
Haydn,  126,  memorial  concert,  179; 
among  the  classics,  213. 


Brennan,  William  H.,  87. 
Bruckner,  Anton,  symphony  No.  7, 

109;  effect  on  audience,  125. 
Bull,  Mrs.  Ole,  145. 

Cecilia  Society,  195. 

Chad  wick,  George  W.  118. 

Chorus,  adjunct  to  orchestra,  95. 

Comee,  Frederic  R.,  87. 

Concert-masters,  the,  204-05. 

Concerts,  length  of,  47;  attendance, 
first  season,  74;  in  New  England 
cities,  85;  first  in  Steinway  Hall, 
N.Y.,  112;  criticisms  of  N.Y.,  129; 
benefit,  142;  concert  for  school  chil- 
dren, May,  1886,  141;  testimonial 
to  Gericke,  144;  success  in  other 
cities  under  Nikisch,  162;  at 
"World's  Fair,"  Chicago,  1893, 
162;  benefit  for  San  Francisco 
earthquake  sufferers,  207;  com- 
memoration of  30th  anniversary  of 
orchestra,  217. 

Cotting,  C.  E.,  198. 

"Courier,"  quoted,  38-39. 

Cross,  Charles  R.,  198. 

Curtis,  George  William,  6. 

Deficit,  second  season,  85;  approxi- 
mate aggregate,  106. 

Dresel,  Otto,  153. 

Dwight,  John  S.  article  In  the  "Dial," 
4;  his  "Journal  of  Music."  9; 
quoted,  30  n.;  letter  to,  62;  on  read- 
ing the  programme  book,  139;  145; 
on  new  music,  159. 

Ellis,  Charles  A.,  manager,  86. 

Elson,Louis  C,  his  "Historyof  Amer- 
ican Music"  quoted,  3;  quoted, 
62,  94-95;  valentine  to  Henschel, 


277 


INDEX 


98;  on  temper  of  the  audiences,  120; 

cnreceptionofStrauss's/'Inltaly," 

126;  on  Gericke's  farewell  concert 

144. 
Epstein,  Julius,  103,  105,  107,  155. 
"Euterpiad,"  the,  3. 

Fiedler,  B.,  no. 

Fiedler,  Max,  engaged  as  conductor, 

215;  popularity  of  his  programmes, 

216;  last  concert,  218. 
Fitchburg  (Mass.)>  concerts,  85. 

"Gazette,  Saturday  Evening,"  quot- 
ed, 61,  69,  81-82,  125. 

Gericke,  Wilhelm,  95;  in  Vienna,  103; 
engaged  as  conductor,  104;  discour- 
aged, 104;  refuses  to  conduct  con- 
cert in  New  York,  105;  his  account 
of  his  first  term  as  conductor,  106- 
14;  biographical,  114;  first  con- 
cert, 117;  discipline  improves  or- 
chestra, 143;  farewell  party  at 
home  of  Mrs.  Ole  Bull,  145;  fare- 
well dinner  at  Tavern  Club,  145- 
52 ;  engaged  as  Paur's  successor, 
181;  comment  on  his  return  in 
"Transcript,"  182;  comment  by 
Mr.  Higginson,  185;  his  account  of 
his  second  term  as  conductor,  186- 
87;  criticism  of  programmes,  189; 
resigns,  207;  benefit  concert,  207; 
conducts  San  Francisco  benefit 
concert,  208. 

Germania  Orchestra,  7. 

Hale,  Philip,  editor  of  programme 

book,  139. 
Handel,  Georg  Friedrich,  "Largo," 

118. 
Handel  and  Haydn  Society,  founded, 

3- 

Harvard  Musical  Association,  found- 
ed, 8;  orchestral  concerts,  10;  ceases 
concerts,  78. 

Harvard  University,  28,  85,  210. 

Henschel,  Georg,  his  "Concert  Over- 
ture" first  performed,  35;  his  ac- 
count   of    his    connection    with 


orchestra,  36,  39-41,  52-53,  99; 
letter  in  "Courier"  on  his  conduct- 
ing, 38;  meets  Mr.  Higginson,  39; 
marriage,  40;  engaged  as  conductor, 
40;  adverse  criticism  of,  50,  51;  ac- 
quires library  for  orchestra,  52; 
letter  to  men  of  orchestra,  55;  criti- 
cism of,  59;  presented  with  silver 
set  by  orchestra,  64;  his  passion  for 
Brahms,  65;  ends  conductorship, 
98;  final  concert  of,  99;  conducts 
Pension  Fund  Concert,  206. 

Henschel,  Mrs  Georg  (Lillian 
Bailey),  35,  81. 

Hess,  Willy,  205. 

Higginson,  Henry  Lee,  biographical, 
12-14;  letter  to  his  father,  15;  arm 
disabled,  17;  letters,  19,  20;  leaves 
Vienna,  21;  marriage,  23;  in  Ohio, 
24;  enters  firm  of  Lee,  Higginson  & 
Co.,  24;  "In  re  the  Boston  Sym- 
phony Orchestra,"  27-34;  engages 
Henschel,  37;  announces  Boston 
Symphony  Orchestra  concerts,  41- 
43;  accountof  orchestra,  46-49, 103 
-06,  155,  157,  185  ;  on  Henschel's 
critics,  62;  circular  to  orchestra, 
1882,  66;  criticism  of  circular,  68; 
announces  second  season  of  con- 
certs, 73;  speech  at  Tavern  Club 
farewell  to  Gericke,  146-52;  letter 
to  Otto  Dresel,  quoted,  154;  on  the 
Musician's  Protective  Union,  157; 
asks  public  to  subscribe  for  new 
hall,  1893,  166;  letter  to  "Tran- 
script" on  need  of  hall,  169;  com- 
ment on  Gericke's  return,  185; 
speech  at  opening  of  Symphony 
Hall,  197;  bust  placed  in  Sym- 
phony Hall,  217;  speeches  at  Har- 
vard Clubs,  New  York  and  Chicago, 
222;  quoted,  224. 

"Home  Journal,"  quoted,  jj. 

Howe,  Mrs.  George  D.,  34,  39. 

Indy,  Vincent  d',  205,  206. 


Jacquet,  Leon,  188. 
Jahn,  Wilhelm,  107. 


278 


INDEX 


Kneisel,  Franz,  engaged  as  concert- 
master,  104;  conducts  "World's 
Fair"  concerts,  162;  leaves  orches- 
tra, 204. 

Kneisel  Quartette,  123,  205. 

Lang,  B.  J.,  84,  115;  lectures,  118. 

Leipzig,  Gewandhaus,  195. 

Leipzig,  Stadt  Theater,  155,  174. 

Lichtenberg,  Leopold,  122. 

Lind,  Jenny,  8. 

Listemann,  Bemhard,  28,   34,   122, 

184. 
Loeffler,    Charles    M.,    123;    leaves 

orchestra,  205. 
Lowell,  Charles  Russell,  14,  22. 
Lowell  (Mass.),  concerts,  85. 
Luther,  Martin,  memorial  concert,  96. 
Lyman,  John  P.,  34,  85. 
Lynn  (Mass.),  concerts,  85. 

Maas,  Louis,  34. 

Melba,  Nellie,  190. 

"Minerviad,"  the,  3. 

Mock  programme,  a,  63. 

Moldauer,  A.,  no. 

Mozart,  W.  A.,  concert  for  monu- 
ment fund,  142. 

Muck,  Dr.  Karl,  biographical,  209; 
estimate  of  orchestra,  210;  ideas  on 
programme  making,  211;  resigns, 
215;  receives  title  of  "General 
Musical  Director"  from  German 
Emperor,  218;  returns  to  Boston 
in  1912,  219. 

Mudgett,  L.  H.,  87. 

"Music,"  quoted,  64,  65-68. 

Music  Hall,  Boston,  built,  8;  secured 
for  Symphony  Concerts,  47;  "Great 
Organ"  removed  from,  116;  move- 
ment for  new  hall  to  replace,  164; 
criticisms  of,  165;  last  Symphony 
Concert  in,  192;  poem  by  William 
S.  Thayer  at  opening  in  1852,  193; 

195- 
"Music  Hall  Bulletin,"  established, 

138. 
Musical  Fund  Society,  concerts,  6,  10. 
Musical  Institute  of  Boston,  3. 


"Musical  Magazine,"  the,  3. 
Musician's  Protective  Union,  156. 

New  Bedford  (Mass.),  concerts,  85. 

Newport  (R.  L),  concerts,  85. 

"New  York  Times,"  quoted,  129. 

Nikisch,  Arthur,  154;  biographical, 
155;  encounter  with  Musician's 
Protective  Union,  1889,  156;  con- 
ducts without  score,  160;  popular- 
ity in  other  cities,  162;  misun- 
derstanding about  contract,  163; 
resigns,  and  becomes  Director-gen- 
eral of  Royal  Opera  at  Buda-Pesth, 
163. 

Norcross,  Mr.,  builder  of  Symphony 
Hall,  197. 

"Organ,  Great,"  in  Music  Hall,  8, 
116,  164. 

Paderewski,  Ignace  Jan,  190. 

Paine,  John  K.,  "  Spring  Symphony" 
given,  98;  lectures,  118. 

Park  Street  Church  choir,  2. 

Parker,  H.  T.,  on  the  stages  of  the 
orchestra,  loi;  on  Paur  as  con- 
ductor, 177;  on  audiences,  226. 

Paur,  Emil,  biographical,  174;  his 
account  of  his  connection  with 
orchestra,  174-76;  estimate  of,  by 
H.  T.  Parker,  177;  beating  time 
with  foot,  178;  gives  works  of 
Richard  Strauss,  179;  ends  con- 
ductorship,  180. 

Peace  Jubilee,  King's  Chapel,  2. 

Peck,  A.  P.,  86. 

Pension  Fund,  201-203;  concerts,  187, 
206. 

Perkins,  Charles  C,  199. 

Personnel  of  orchestra,  changes,  121; 
criticism  of  changes,  124;  number 
of  harps  and  horns  increased,  213. 

Philharmonic  Society,  founded,  10; 
ceases  concerts,  78. 

Pianos,  advertising  of,  stopped,  79. 

"Pops,"  the,  no,  140. 

Portland  (Me.),  concerts,  85. 

Pourtau,  Leon,  188. 


279 


INDEX 


Pratt,  Bela,  L.  218. 

Programme  book,  established,  139. 

Programmes,  Henschel's  idea  of,  56; 
facsimile  of  first,  57;  facsimile  of 
Wagner  Memorial,  83;  Gericke's 
criticized,  120,  143,  189;  Dr. 
Muck's  ideas  on,  2n;  "Transcript" 
on  Dr.  Muck's,  212;  Fiedler's,  216. 

Providence  (R.  I.),  concerts,  85. 

Richter,  Hans,  103 ;  signs  contract  as 
conductor,  173;  contract  broken, 
174;  209. 

Roby,  F.  G.,  85. 
Roth,  Otto,  no. 
Rubinstein,  Anton,  38,  142. 

Saint-Saens,  Camille,  "Danse  Ma- 
cabre," elicits  first  encore,  119. 

Sabine,  Wallace  C,  195,  198. 

Salem  (Mass.),  concerts,  85. 

Sanders  Theatre,  concerts,  85. 

San  Francisco,  concert  for  earth- 
quake sufferers,  207. 

Schroeder,  Alvvin,  204. 

Steinway,  William,  1 1 2. 

Strauss,  Richard,  "In  Italy,"  first 
performed,  109,  126;  "Ode  to  Dis- 
cord," inspired  by  symphony,  127; 
Paur's  attitude  toward,  179;  "Hel- 
denleben,"  187;  praises  orchestra, 
187;  conducts  Pension  Fund  Con- 
cert, 187;  206. 

Svecenski,  Louis,  no;  leaves  orches- 
tra, 204. 

Symphony  Hall,  movement  to  build, 
164;  signers  of  appeal  for  building, 
168;  building  deferred,  171;  sites 
suggested,  171;  McKim,  Mead  & 
White  begin  designs,  172;  opened, 
192;  programme  of  opening  con- 
cert, 195;  extract  from  ode  by 
Owen  Wister,  195;  speech  by  Mr. 
Higginson,  197-201. 


Telephone,  plan  for  concerts  by,  95. 

Thayer,  William  S.,  193. 

Theodorowicz,  Julius,  204. 

Thomas,  Theodore,  Orchestra  visits 
Boston,  II,  III,  183. 

Tickets,  price  of,  43;  demand  for,  53; 
speculators,  75,  135;  method  of  sell- 
ing by  auction  introduced,  87;  high 
premiums,  91;  at  twenty-five  cents, 
91;  change  of  prices,  92. 

Trips,  to  other  cities,  suggested,  log; 
first  made,  in;  influence  of,  128; 
humorous  incidents  of,  131;  to  the 
West,  1889,  144;  temporarily  aban- 
doned, 177. 

Wagner,  Richard,  Mr.  Higginson  and 
J.  S.  Dwight  on,  30  n.;  memorial 
concert,  February,  1883,  81;  fac- 
simile of  programme,  83;  "Parsi- 
fal" Vorspiel  played,  83;  memorial 
concert,  February  1883,97;  among 
the  classics,  213. 

Wallace,  William  Vincent,  fantasia 
on  "Maritana,"  8. 

Walter,  W.  E.,  87;  on  humors  of  out- 
of-town  concerts,  131-33. 

Weber,  Carl  Maria  von,  "Festival" 
overture  played,  58. 

Weiss,  Albert,  188. 

Weissenborn,  E.  A.,  80. 

Wendling,  Carl,  205. 

Wilson,  George  H.,  138. 

Wister,  Owen,  passage  from  poem 
read  at  opening  of  Symphony  Hall, 

195- 

Witek,  Anton,  205. 

Worcester  (Mass.),  concerts,  85. 

Young  People's  Popular  Concerts, 
141. 

Zach,  Max,  no. 
Zerrahn,  Carl,  10,  53. 


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